Island in the Sun

Hollywood was clearly not ready for this type of drama, which is full of compromise. Screen lovers Dorothy Dandridge and John Justin are clearly not allowed to kiss. Ditto for Joan Fontaine and Harry Belafonte (incidentally, Fontaine's comment about the two of them being children together should have been left out; she looks good, but it's still obvious that she's a good ten years older than he.)

Because this movie was made at a time when there was still a Hays Code and that much of America was segregated, you won't get much passion out of the interracial teamings of either Dorothy Dandridge/John Justin (though there's some close embraces) nor Harry Belafonte/Joan Fontaine (he's too intense, she's too reserved). Also, the romance between Joan Collins and Stephan Boyd isn't much to write about either (though they do share a kiss). Anyway, this is mainly about James Mason's plantation character and his debates with Belafonte's labor leader character, his jealousy of his wife's (Patricia Owens) supposed affair with a counsel diplomat (Michael Rennie), and his and sister Collins' reaction to a family secret revealed from a reporter and confirmed by their parents (Diana Wynyard and Basil Sydney). Along the way, there's an officer (John Williams) cracking a murder case...With what I just mentioned, there should have been some fireworks but-other than some exciting close calls staged by director Robert Rossen-it's mostly dull with droning dialogue provided by Alfred Hayes as adapted from Alec Waugh's novel. Still, there are a couple of good songs written and performed by Belafonte and a nice dance by Dandridge and also a compelling confrontation between Mason and Belafonte at a speech rally. So on that note, Island in the Sun is at the least worth a look. P.S. The DVD has excellent commentary by historian John Stanley.

While there are many other more "contemporary" films which examine race relations issues equally as competently if not more so - considering this one was produced back in 1957 it should be recognized as genuine breakthrough! Sure, you may have heard about some of its cop outs, but bear in mind that interracial relationships were political dynamite at the time - and yet some of the film's observations remain poignant even today. But the ultimate beauty of this film is that even if you could care less about the racial issues, it still excels as a mystery / "whodunit" with some intriguing plot twists, as a mini musical with Harry Belafonte performing at the top of his game, and even as a sort of Travel Channel feature-of-the-week, which might leave you booking reservations to your own tropical paradise. So tune out the naysayers for a moment and give this one a fair shot. It may not be technically perfect, but most will be entertained, one way or another.

Island in the Sun is credited by others as the first movie to star an interracial couple. It was made in 1957 the same year as Sayonara in which Marlon Brando, Red Buttons, and James Garner are all involved in interracial romances with Japanese women. Also there is a Barbara Stanwyck film from I believe the 1930's where she is involved with a Chinese man so this is not the first interracial romance. Generally I would agree with what others have said about this movie. A beautiful looking dud, filled with beautiful people. Unlike others however I would blame the director and editor, rather than the script for the problem. In countless number of occasions the film dissolves to a slow fade just as the action is reaching it's dramatic peak. As in James Mason's attempted suicide, his wife comes into the room sees the gun and ..... dissolve to next scene. Terrible. The cat and mouse , Crime and Punishment murder subplot gives the film some vigor but then peters out in a very predictable way. A great cast , and great scenery photographed by Freddie Young ( Lawrence of Arabia) all of it wasted.

This was a very unique movie for Hollywood in the 1950s because it explored interracial relationships from both a political as well as romantic perspective. No doubt, it made audiences extremely uncomfortable.

The cast is very strong (with Dorothy Dandridge, Joan Fontaine, John Williams and James Mason--who never disappoints,) and the storyline both intriguing and unpredictable. Harry Belafonte portrays a proud, outspoken labor leader who fights racial injustice on a British Caribbean island, but this is only a secondary plot line. The "forbidden fruit" of interracial relationships is explored from several different perspectives giving this movie an important place in the history of American Cinema. Although racism and class-ism are common elements, the characters are empathetically portrayed. This movie was released in Jim Crow America and, younger viewers may not fully appreciate its' unique portrayal of Blacks in non-subservient roles. Blacks were typically cast as inarticulate maids and butlers, but Dorothy Dandridge (nominated as Best Actress for Carmen Jones in 1954) and Harry Belafonte (a top ten pop singer) were particularly stunning and sophisticated, an anomaly for Black actors in films roles at the time. Nevertheless, Belafonte's acting is often stilted, revealing that this was an early role while Dandridge's character lacks depth--though her acting superb, given that she has been given so little with which to work.

An important side note is that Harry Belafonte was a top-selling West Indian Calyso singer (Day-0-The Banana Boat Song) at the time that this movie was released and performed the title song. In addition to making a strong political statement about the need for racial justice--via his character in this film--he also was a high-profile figure within the Civil Rights Movement, marching with the Reverend Doctor Martin Luther King.