Porgy and Bess (1959)

Director:

Otto Preminger

Writers:

Dorothy Heyward (play)
DuBose Heyward (libretto)

Release Date:

24 June 1959 (USA)

Genre:

Drama | Musical | Romance

Tagline:

Introducing a new era in motion pictures!

Plot:

In this legendary Gershwin opera set among the black residents of a fishing village in 1912 South Carolina...

Plot Keywords:

South Carolina | Fishing Village | Drugs | Murder | Rescue

Awards:

Won Oscar. Another 4 wins & 8 nominations

Cast

Sidney Poitier	...	Porgy
Dorothy Dandridge	...	Bess
Sammy Davis Jr.	...	Sportin' Life
Pearl Bailey	...	Maria
Brock Peters	...	Crown
Leslie Scott	...	Jake
Diahann Carroll	...	Clara
Ruth Attaway	...	Serena Robbins
Claude Akins	...	Detective
Clarence Muse	...	Peter
Everdinne Wilson	...	Annie
Joel Fluellen	...	Robbins
Earl Jackson	...	Mingo
Moses LaMarr	...	Nelson
Margaret Hairston	...	Lily

Runtime:

138 min

Country:

USA

Language:

English

Colour:

Colour (Technicolor)

Aspect Ratio:

2.20 : 1

Sound Mix:

70 mm 6-Track (70 mm prints) | Stereo

Certification:

West Germany:12 | Finland:K-16

Filming Locations:

Samuel Goldwyn/Warner Hollywood Studios - 1041 N. Formosa Avenue, Hollywood, Los Angeles, California, USA

Company:

Samuel Goldwyn Company, The

Trivia:

The Gershwin family was dissatisfied with the film, largely because it was not staged as a true opera with all the recitative performed musically, and also because the two leads had their singing voices dubbed. The film's original director, Rouben Mamoulian, wanted to film on location, but producer Samuel Goldwyn refused and insisted on using sound stages. When a mysterious fire broke out and destroyed the sets, Mamoulian again requested that the film be made on location. Enraged, Goldwyn felt that Mamoulian was taking advantage of a misfortune, promptly fired him, and hired Otto Preminger, who made the film on sound stages in Hollywood. The film is currently (Nov. 2002) withheld from release because of actions by both the Gershwin and Goldwyn estates, as neither Samuel Goldwyn nor the Gershwin family were satisfied with the film.

Movie Connections:

Referenced in Hi, Mom! (1970)

Soundtrack:

Morning Sounds

It Ain't Necessarily So

The Seattle International Film Festival was fortunate enough to arrange a screening of a recently discovered 70mm print, going so far as to fly it in from Germany. It was a bit faded, the sound could stand to be remastered, scores of frames are missing, and it has German subtitles, but all in all it was a special treat to see a film unlikely ever to be made publicly available again.

But I'm rather mystified as to why the rights are still in dispute. There's nothing overly offensive here, neither politically nor artistically. Unfortunately, neglect and apathy are probably to blame... it must be said that, while notable, the film itself fails to fully communicate the passion of this most American of operas. It's more of a historical artifact now.

The audience was most delighted by Sammy Davis, Jr. in a role that seems to have been conceived specifically for him. Rarely has an actor been so perfectly suited for a part. Unfortunately, Mr. Davis' persona eventually overwhelms the character- but one can't be certain if this is due more to his actual performance or to the peculiar place our image of him now occupies in popular culture.

Sidney Poitier was 10-15 years too young for Porgy, but acquits himself nicely (though he is dubbed less than precisely). Dorothy Dandridge is just right- but is denied Bess' climatic scene, which takes place offscreen. Best of all is Pearl Bailey, who gets only a few chances to make an impression but takes full advantage of them. The scene in which she is interrogated by the policemen is so funny, it practically derails the movie.

The songs have been pared down, some making only a cursory appearance, and the staging is static. These choices, commercial in nature, rob the film of the power it should have. Perhaps another movie will one day do justice to the opera.

In this "Porgy and Bess", the portrait of Catfish Row is what is most moving. This community mourns, celebrates together and protects itself from outsiders. When the detective grumbles "nobody lives here", it's quite apparent why the inhabitants of Catfish Row would want him to believe that.