Otto Preminger
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 ANATOMY OF A MURDER Original 1959 French Poster Otto Preminger $400.00 Time Remaining: 28d 9h 52m Buy It Now for only: $400.00 |
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 ANATOMY OF A MURDER Original 1959 Title Card Otto Preminger $450.00 Time Remaining: 27d 10h 46m Buy It Now for only: $450.00 |
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 Photo Otto Preminger presents Exodus 1960 Israel $9.99 Time Remaining: 3d 23h 35m Buy It Now for only: $9.99 |
 Photo Otto Preminger presents Exodus 1960 Arabs Israel $9.99 Time Remaining: 3d 23h 35m Buy It Now for only: $9.99 |
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 Anatomy Of A Murder Otto Preminger Lee Remick Eve Arden Original Photo $19.99 Time Remaining: 14d 13h 25m Buy It Now for only: $19.99 |
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 River of No Return JAPAN PROGRAM Otto Preminger Marilyn Monroe Robert Mitchum $49.99 Time Remaining: 23d 8h 30m Buy It Now for only: $49.99 |
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 Original Photograph of Otto Preminger 1955 Metropolitan Photo Service RM17 $10.50 Time Remaining: 8d 12h 59m Buy It Now for only: $10.50 |
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Otto Preminger
Something I Said-Film Review Of Introducing Dorothy Dandridge Starring Halle Berry
Introducing Dorothy Dandridge
Something I Said Dwight Hobbes
Insight News archives A film about Dorothy Dandridge, the first African American woman nominated for a best actress Oscar, should be a thoroughly exhaustive account. Dandridge's life was one of complex and compelling circumstance, marred by misfortune that consistently undermined, and ultimately overshadowed, even her greatest triumphs. The cruelest of ironies, this fetching, "fair-skinned" beauty with "good" hair, hypnotic sensuality and a succession of privileged White lovers scratched and clawed for salvation in heartbreaking parallel to the trite tragic-mulatto stereotype with which her film-work often is associated. No contrived fantasy figure, she indeed was a flesh-and-blood human being who surely went to heaven, having served her time in hell right here on earth. Anguished by the plight of her mentally retarded daughter, discriminated against by the world's most powerful media industry, victimized by black and white men alike and ending up with exactly $3 to her name, what happened to Dorothy Dandridge shouldn't, as they say, happen to a dog. The scope of Dandridge's life and the significance of her career call for an epic film, a cinematic treatment on the order of Donald Bogle's sweeping, painstakingly detailed literary work about her. Nonetheless, all things considered, Introducing Dorothy Dandridge (HBO/$14.95), is a reasonably creditable offering. Based on a book by her one-time manager, Earl Mills, the pared down, condensed rendering loses a lot of information, but touches on most of the major facts. There is scant mention of her days as a child performer and no sense at all of the context in which she moved among a vibrant, Black show-business community. The one stable romance she had is virtually ignored as is the extent to which her partner in that relationship, Phil Moore, contributed to her success, coaching the aspirant singer, nurturing her confidence and molding her image before Mills showed up, took over and shunted Moore to the periphery. However, the chronology is intact, tracing an historic figure's rise to fame and her personal torments, including a symbiotic affair with legendary director Otto Preminger and a descent into binge-drinking, chronic depression and, eventually, death by an overdose of prescription medication. The film's chief value is that despite its scope, this is the only movie, which has been made about Dandridge. Introducing Dorothy Dandridge, largely acquitted by excellent acting, is easy to watch and well worth sitting through. Halle Berry heads a cast that includes Cynda Williams (One False Move), Obba Babatundé (Miss Evers' Boys) and Tamara Taylor (Senseless), featuring Brent Spiner as Mills and Klaus Maria Brandauer as Preminger. Loretta Devine (Waiting to Exhale) appears as Ruby Dandridge, Dorothy's pragmatic and iron-willed mother who played maids in films in order to keep from having to work as one in real life. Berry's able performance is enhanced by her being Dandridge's physical type: slender with thick thighs and a well-pronounced posterior, plus Caucasian facial features. She conveys fiery determination and shows adequate range, taking the character from spunky upstart to bedraggled has-been. There is, however, no evidence of the Achilles' heel insecurity that plagued Dandridge and, owing to which, this dynamic performer actually suffered debilitating stage fright. One might argue in Berry's defense that these things weren't written into the script. As the executive producer who procured film rights, though, she should've pressed screenwriters Shonda Rhimes and Scott Abbot to draw a more complete picture of Dandridge. Ultimately, Berry, who is a fine actress, rises to a less than formidable challenge. Williams, on the other hand, is nothing short of brilliant in a relatively minor role as Dorothy's older sister Vivian Dandridge. Had Williams been accorded appreciable screen-time and a few more dramatic moments, should've stolen this movie from under Berry's nose. As it is, she beautifully executes a charged scene in which Vivian tells Dorothy off in a drunken fit of envious rage. Her work throughout the film is deft, so subtly authentic one is scarcely aware that she's acting at all. Babatundé is perfectly convincing in a fairly sanitized depiction of Harold Nicholas - half of the famous, dancing Nicholas Brothers and a flea-bitten womanizer. Taylor works well as Dandridge's best friend Geri Nicholas, but, as written, the character has no distinct personality, making it difficult for Taylor to do much more than decorate the screen and trade dialogue with Halle Berry. Similarly, Spiner and Brandauer are basically asked to walk through parts that are void of dimension. Fortunately, both actors are fine professionals who effortlessly convey presence. Cynda Williams flawlessly channels Vivian Dandridge, Dorothy's sister -- and bitter rival for acting roles. Director Martha Coolidge proficiently moves the minimal story along. It is unlikely that there will be any more films about Dorothy Dandridge. This made-for-cable treatment, showcasing a suspiciously heroic Earl Mills and capsulizing the performer's life will have to do. Seeing the glass as half-full, one does well to be thankful for small favors.
About the Author
Twin Cities Daily Planet articles archived at www.tcdailyplanet.net/profiles/dwight-hobbes. Dwight Hobbes has written for ESSENCE, Reader's Digest, Washington Post, Minneapolis Star Tribune, St. Paul Pioneer Press, City Pages, Mpls/St. Paul, MN Law & Politics, Pulse of the Twin Cities, Twin Cities Daily Planet, Women & Word, San Diego Union-Tribune and Minnesota Spokesman-Recorder (where he contributes the commentary column Something I Said). He's spoken his mind over National Public Radio, Minnesota Public Radio, Blog Talk Radio's UNOBSTRUCTED and KMOJ in Minneapolis and St. Paul. Was regularly featured as guest commentator on NewsNight Minnesota (KTCA-Minneapolis/St. Paul) and Spectator (Minneapolis Television Network). His monthly column "Hobbes In The House" in MN Spokesman Recorder speaks to domestic abuse and rape. His plays are Shelter - produced at Mixed Blood Theatre by Pangea World Theater, Dues - produced by Mixed Blood Theatre, University of Southern Illinois in Point of Revue, selected for Bedlam Theatre's 10-Minute Play Festival and published by Playscripts, Inc. You Can't Always Sometimes Never Tell - produced by Theater Center Philadelphia, Long Island University, reading at The Kennedy Center and published in the anthology CENTER STAGE, In the Midst - produced by Long Island University, starring Samuel E. Wright. Hobbes spoke on the panel "Farewell To August Wilson" at the Guthrie Theater, broadcast on Conversations With Al McFarlane (KFAI, KMOJ). Singer-songwriter Dwight Hobbes recorded the single "Atlanta Children" (BeatBad Records) and gigged 10 years in the Long Island/NYC area, including The Other End, Kenny's Castaways and My Fathers Place. He fronted the Boston blues band Midlight. In Minneapolis, Hobbes opened for David Daniels at First Street Entry, James Curry at Terminal Bar, sat in with Yohannes Tona, Alicia Wiley at Sol Testimony's Soul Jam, The New Congress at Babalu, Willie Murphy at the Viking Bar and Wain McFarlane & Jahz at Lucille's Kitchen. Dwight Hobbes still drops in at the occasional open mic around town. www.myspace.com/dwighthobbesmusic
What is Otto Preminger Case?
While making a search about ‘freedom of expression’, I found this case. It is considered as one of the example cases for ‘freedom of expression’ or ‘freedom of religion’ discussions. Any information will be appreciated.
Otto Preminger was a famous movie director during the 1950's. The Internet Movie Database has a very extensive biography on him. I didn't read the whole to see if he had been involved in any legal matters or court cases. Check out the link below.
Censorship and the Production Code: Otto Preminger