Directed by Otto Preminger, Carmen Jones was one of the most
elaborate and sophisticated representations of African Americans on the silver
screen in the 1950s. Despite the use of heavy dialect in both the sung and
spoken dialogue, the complexities and nuances of Bizet’s original opera weren’t
lost in this newer version.

Most of the emotional heft was left to the two leads–Dorothy Dandridge and
Harry Belafonte, both relatively new to starring roles at the time. Dandridge is
said to have had to fight for her part, because Preminger considered her image
too pristine to pull off the alley-cat brazenness and fire. She remedied his
doubts by showing up in full costume and forcing him to allow her a second
audition.

After being cast, Belafonte faced the challenge of having to push himself
beyond his trademark charisma to access tortured psychosis. Each met the demands
of his/her role with apt force.

Whether or not Carmen Jones is a mainstream classic is debatable,
but it’s certainly worth viewing for its historical relevance and general
enjoyability.