Introducing Dorothy Dandridge (1999) - full transcript

[reflective piano music]

♪ ♪

♪ ♪

Dorothy: Have you ever caught
sight of yourself by accident

and you see yourself
from the outside?

That's who you really are.

[overlapping chatter]

[elevator bell dings]

Excuse me.
I'm supposed to pick up a dress.

♪ ♪

- Nothing owed.
Your lady must have paid.



- Thank you.

♪ ♪

No, Geri.

Girl, I'm not talking crazy,

and I don't need you
to come over.

I just...need you to stay
on the phone, okay?

I can't sleep,
and I want to talk.

[elevator bell dings]

[background chatter]

- Ma'am.

- My lady's going out
for the evening.

- May I have
my room key, please?

man: The stars
continue to arrive

at the 1955 Academy Awards
here in New York



and out in Los Angeles.

[continues in background]

- This is it, Dottie.

- This is it.

[crowd cheering]

[man continues speaking
under crowd noise]

man: Tonight in New York City.

Ladies and gentlemen,
the first-ever colored nominee

for Best Actress,
Dorothy Dandridge,

star of "Carmen Jones."

She's arriving tonight with
her sister Vivian Dandridge.

Dorothy, can we talk
to you for a moment?

Dorothy, the world
is watching.

How does it feel?

- It feels like Christmas!
[laughs]

- Thank you.
- Thank you.

- There she goes,
Dorothy Dandridge,

nominated for Best Actress
in "Carmen Jones."

The other nominees are
Judy Garland,

Audrey Hepburn,
Grace Kelly...

man: We love you, sugar.

- We love you, Dorothy!

- Hi. Thank you.

- Dorothy!

woman: Dorothy!

- Come on, Dottie.

Come on!

Dottie!

Would you please
come on?

- I can't do another!

- Dottie, how many times
you gonna get the chance

to take another call
at the Cotton?

- We've done ten already,
and my feet are swollen!

- Oh, would you make her?
man: One more time,

The Dandridge Sisters!
- Come on!

[band plays jazzy music]

♪ ♪

all: ♪ That's your red wagon ♪

♪ ♪

♪ That's your red wagon ♪

♪ ♪

♪ So keep draggin' ♪

♪ Your red wagon ♪

♪ Along, along ♪

♪ Along ♪

[end notes]
[cheers and applause]

man:
1940's freshest faces,

the lovely Dandridge Sisters!

[all giggle]

- Hey! Heh!

First rule of dancing offstage
is landing on your feet.

- You weren't there
a second ago.

- But I'm here now,
and here I plan to stay.

- [giggles]

- Well, aren't you
easy on the eyes?

I'm Harold.
- And I'm Fayard.

We're the Nicholas Brothers.

- Everybody knows
the Nicholas Brothers.

- You're famous.

- Hey, Fayard, did you hear
that? We're famous.

- Who's famous?
- We're famous.

- We're famous?
- That's what she said.

- Yeah?
Well, nobody told me.

- We held the record

for the most calls
at the Cotton Club.

Well, till tonight.

You sisters got us
beat by two.

- Oh, no,
we're not sisters.

Well, we are.
- But not me.

- It's just
our stage name.

- Ladies.
Got to go, Harold.

- Yeah.
Cool your taps, Fayard.

I say my brother and I hit
the lucky 13 tonight.

- What's so lucky
about 13?

- We hit it, you go with me

to the picture show
Friday night.

- What makes you think

I want to go
anywhere with you?

- I don't think.
I know.

man:
There's no place like home.

Ladies and gentlemen...

- So what do you say?

- You hit 13,
you pick me up Friday night.

- Friday night.
man: The one, the only,

the Nicholas Brothers!
- Let's go.

♪ ♪

[all giggling]

♪ ♪

[Dorothy squeals]

- Oh!

- Oh!
- Aah!

[giggling]

♪ ♪

- What did I tell you about
getting your skirt snipped?

- He's just being nice.

- Ain't no such thing
as nice to a fox in a henhouse,

even if it is a famous fox.
You're here to work!

Change your clothes,
get your coats on.

I want you in bed by 1:00.

Dorothy: Mean old snake.

Made us call her "Auntie."

Remember that? Hmh!

She wasn't nothing
but Mama's special friend.

Hmm.

But that night,

I barely even knew
she was there.

[jazzy music]

♪ ♪

[cheers and applause]

man:
Ladies and gentlemen,

the Nicholas Brothers!

Harold: Hey!

We hit it.
Lucky 13.

- Congratulations.

- So where do I pick you up
Friday night?

- Los Angeles.

- L.A.?

- That's where I'm gonna be
come Friday night.

Auntie: Move it!

- You know, a bad boy like you

don't want to mess
with that girl, Harry.

She's a good girl,
sweet as pie.

[chuckling]

- Hmm.
That ain't bad, either.

[both chuckle]

- Thank you.
- Ma'am.

- Is Mama home?

- No, she's where
she always is, working.

Harold: Excuse me.

If I remember correctly,

I was promised a date
for Friday,

and this is Friday.

That's...if it's all right
with you, ma'am.

And might I say you are
looking lovely today?

The sunshine agrees with you.

- Is that your car?

- It's a beauty,
isn't it?

Cost a pretty penny,

but it's only money.

- Now, that is a man.

Hmm?

- Mm-hmm.

[audience laughter]

- [gasps]
Ooh!

Hey, honey, you gonna
sleep in this room

with all them microbugs
crawling all over you?

woman: I don't think they'll
bother me, Hyacinth.

Hyacinth: Oh. Oh. Now...oh!

- [chuckles]

You know, Dottie,

I got a thing for you
that just won't leave me alone.

- Shh.
Watch the movie.

Hyacinth:
You know what I've done?

I sprinkle him
with Egyptian Nights,

and when he come to,
we was living on 110th,

overlooking the park.

[laughter]

Of course,
I had to pay the rent.

[all chuckling]
- Hey.

Come on, let's go.
I mean...

I got better things
I can think of doing

than sitting watching
some old plantation mammy.

[chuckles]

- That plantation mammy
is my mother.

- Yeah...
[laughs]

- You really ought to try some.
It never fails.

[giggling]

- Dottie. Dottie.

Dottie, I didn't know.

Dottie, I'm sorry.
I didn't know.

- She didn't have
a choice, you know.

After my daddy left,
she had to feed us,

and playin' a maid is a world
easier than bein' a maid.

- Of course it is.
Listen.

I didn't mean
any disrespect.

Please don't be sore.

- I'm not sore.
- Yes, you are.

It's your mother,
and what I said was stupid.

Believe me,
I know about being poor.

- We were so poor,

my mama put us on
the Chitlin' Circuit.

- We were on the
Chitlin' Circuit, too,

only we were so poor,

we couldn't afford
the chitlins.

- Well, we were so poor,
we had to sleep

four to a bed
everywhere we went.

- Dottie, we were so poor

that my mother had to sew
all of our costumes,

and she couldn't sew.

One pants leg was always
coming out shorter

than the other one.

Fayard and I used to have to tap
with one knee bent.

See, that's where
that step comes from.

When you see us doing this...
- [laughs]

- That's where
it comes from.

[both laugh]

- You're so crazy.

- I'm only crazy

when it comes to you.

[romantic music swells]

♪ ♪

[hinges creak]

[distant dog barking]

- You know what time it is?

- We went for ice cream
after the movie.

- What else you go for?

- Where's Mama?

- Night shift.

What you let him
do to you?

You let him
stick it in you?

- I need to get...
- I'm talking to you.

- It was one kiss.
That's all, one kiss.

- You let him
stick it in you.

- No.
- I know you did.

I can smell
the sex on you.

And I'll be damned
if I raise your brats

after I wasted all
this time raising you!

Take off your drawers.
I'm checking you.

- No.

- I said take 'em off.
- [screams]

[whack]
[crying]

- Get up here!

[fabric tearing]
- Auntie! No! No!

- Vivian!
Oh!

- You mind your business,
Vivian!

[overlapping yelling]

- Oh!
- Spread your legs!

- Vivvy!
- Spread 'em!

- [crying]

- Stop it! Stop!

- [screams]

[sobbing]

- You're still a virgin.

- [grunts]

- What is wrong with you?

[overlapping yelling]

- Yeah, you better hold her!
Hold her!

Next time you better be in this
house when I tell you to!

[Dorothy crying]
Vivian: Dottie, come on.

Are you all right?

Auntie, she's just crazy.
She's crazy.

But that, what she did,
it don't mean nothin'.

It don't mean nothin'.

- [panting]
Didn't nothin' happen.

Didn't happen.
You hear me?

Didn't happen.

I can't wait
to get out of here.

When I'm rich and famous,
she ain't gonna see

a dime of my money,
you hear me?

- Yeah, I hear.
- Ain't gonna see a dime of it.

[distant door opens, closes]

Look at Daddy.

Harold look just
like him, don't he?

[car door closes]
Vivian: Yeah.

[door opens]

[distant dog barking]

- [sighs, gasps]

What are you two
doing still up?

[whispers]
I bought us some pie.

It's still hot.

Everything all right?

- Everything's fine, Mama.

- We just wanted
to say good night.

- Oh.
My babies.

Have your pie tonight.
[kisses, chuckles]

You know, Auntie does
the best she can by us.

I mean,
she tries really hard.

You do understand,
don't you?

Oh, well, good.

You save me a piece.
You know how I love pie.

Harold:
♪ Dinner in the diner ♪

Dorothy:
♪ Nothing could be finer ♪

both: ♪ Than to have your ham
and eggs in Carolina ♪

- ♪ When you hear
the whistle blowing ♪

♪ Eight to the bar ♪
- ♪ Then you know ♪

♪ That Tennessee
is not very far ♪

all: ♪ Shuffle all the coal in,
got to keep it rollin' ♪

- ♪ Whoa, whoa, Chattanooga,
there you are ♪

all: ♪ Chattanooga choo choo ♪

♪ There you are ♪

[train bell clangs]

♪ ♪

- Whoo!

- All right, Harold.
Pick it up now.

- I got it now.
I got it, I got it.

- Ha ha ha!
- Whoo!

Ha ha!

Wait. That ain't
in the number.

Honey, hold this
for me.

Hat dance!

- [squeals]

Fayard: All right,

all right, enough.
[music stops]

My wife'll kill me
if I let you two

dance me into my grave.

Hey, Geri.

- Get back out there.

You missed the last tap
on your turn.

- Oh. You know,
that hurt.

- Fayard.

- Geri,
every day you sit here,

bossing
little Fayard around,

reading
some old boring thing.

- I boss Fayard because
he likes to be bossed.

And I read Frederick Douglass
because I am trying

to learn something
about my people.

Want to borrow it?

- I'll tell you what
you need to learn.

You need to learn
how to have some fun.

Now, you and Fayard
need to come out

with me and Harold more often.

Besides, we need a chaperone.

Last night,
he asked me to touch it.

[giggles]

- You guys haven't...Harold!

- Hey!
[giggling]

I made him take me home.

Geri: Harold Nicholas
took you home?

Girl, what kind of spell
are you puttin' on him?

- Says I'm the most beautiful
girl in the world.

[giggles]

- I'd rather be smart
than beautiful.

- Mmm,
I'd rather be beautiful.

- Oh, beauty fades.
A woman gets old.

- Mm-mm.
I'm not getting old.

I'm staying young
and beautiful

till the day I die.

[giggles]

Besides, being smart
doesn't get you

an engagement ring
from Harold Nicholas!

[both squealing]

- Oh, my God! Ha ha!

Harold: Hey, hey, hey!

How are we supposed
to get any dancin' done

with y'all making all
that noise over there?

- Oh, hush now.
- Oh, quiet.

[both giggle]

Mama: ♪ Love ♪

- Congratulations.

Mama: ♪ Love ♪

♪ Love is the reason ♪

Will you stop all
that preenin' and fussin'

before I mess up this hem?

- I think Harold'll marry me
with a torn hem, Mama.

How do I look, Vivvy?
- Perfect.

- I make a beautiful bride.

- Like an angel.

Can you believe our baby
is gettin' married?

- I wish I had
a daddy to give me away.

- Cyril Dandridge was
a fool, a no-good...

- Mm-mm, mm-mm.
Not today.

Today is a happy day.
Cyril is gone.

Same as bein' dead,

and that's the way
I like to think of it.

Dead, with God
and the good lamb.

- And anyway,
Harold is not Cyril.

- Honey, any man
with 5 cents'll pay

a colored woman's fare
all the way to nowhere.

You know what the chorus girls
say about Harold?

They say he's broken in
every bed

from here to New York City.

- That's right.
They do say that.

- And I don't care.

- Sugar pie, don't you have
somewhere you need to be?

- Harold Nicholas
is the richest,

most famous colored man
in the world.

He could have any girl
he wants,

and he wants me.

- Mmm.

- Harold Nicholas wants me.

Mm-hmm.
- ♪ Love ♪

- ♪ Love ♪

- ♪ Love ♪

- ♪ Love is the reason ♪

[soft music]

You were always
lecturing us, Geri,

about there being a war on.

Remember?
[chuckles]

Who cared about all
of that when there were

so many parties
to step out to?

Look at us.

We were somethin'.

- Dottie?

What are you doin'?

Will you come to bed?

Dottie, you need any help?

- No, I'm...I'm fine.

- Then come on out and bring
my beautiful wife with you.

- Okay, I'm comin'.

[exhales]

[door opens]

♪ ♪

[gasps]
Ooh. I can't see.

Harold: ♪ Just follow
the sound of love ♪

♪ ♪

I love you.

I love you so much.

- I love you, too.

- Dottie, you gotta
relax, baby, okay?

Just relax, okay?

- Okay.

- Spread your legs.

- Spread your legs!
- Aah!

- No. Don't.
- Spread your legs.

- No!
Don't.

Vivian: Stop it!
[Dorothy crying]

I said no.

- Hey, we're married now.
It's okay.

Dottie,

is there
something wrong?

You can tell me.

- No.
I just don't want to.

- Dottie, you're...
you're my wife now.

What in the hell
did you think

marriage was gonna be about?

It's about intimacy,

and without it,
we've got nothing.

Dottie, without sex,

marriage goes right
down the drain.

Okay?

Come on, now.

Don't be scared.

You're gonna enjoy it,
I promise you.

I guarantee it.
- Mm.

No. No, Harold,
I can't.

No! No! No!

Get off of me!
- Dottie.

- Get off of me!
- Hey.

- Get off of me!
Get off of me!

[panting]

- What the hell am I doing?
Am I crazy?

You don't want me.

Fine.

Then it's over.

We'll get
the whole thing annulled.

It's over.

Good night.

[somber music]

♪ ♪

- [exhales deeply]

Harold.

I'm sorry.

I don't want an annulment.

I just want you
to understand

that I had a different
kind of life, that's all.

Can you give me
another chance?

Hmm?
Can I try it again?

Please?

♪ ♪

We try it again.

[groaning]

[screaming]

- You have got to let us
get you to a hospital.

- No, no.

Harold's coming.
- Where in the hell is he?

- Couldn't miss his golf game.

- [screaming]

- Vivvy, get her purse.

This little one is
not waitin' for him,

and neither can you.

Come on.
- No, Geri!

- Come on.
- No, Geri! I'm not going!

- No, we've got to go.
- No!

- Come on.
- I'm waiting for Harold!

- [sighs]

[background chatter]

[distant baby crying]

Hmm.

- Mama, you're gonna
wear a groove in the floor.

[unintelligible PA announcement]
[distant baby crying]

- Is it a boy or a girl?

- She waited for you
for hours...hours.

- Everything's all right,
isn't it?

Dottie?
Everything's okay, isn't it?

Dorothy: It's a girl.

And she's fine.

- No thanks to you.

Dorothy: Go ahead.
Have a look at her.

6 pounds, 2 ounces.

I named her Harolyn,

and we're going
to call her Lynn.

Harold wanted to send her
to finishing school

in Switzerland.

[chuckles]

Thought she could learn
to speak French.

French.

He always had big dreams.

♪ ♪

Bigger than us.

[rhythmic thumping]

Lynn, honey?

Can you speak
to Dr. Carrington?

Hmm?

Lynn?

Can you say Mama? Hmm?
- [humming]

- Say Mama.

- [continues humming,
kicking]

- I guess some children
are just slow to speak.

- Mrs. Nicholas, I know this
is very difficult for you,

but she will never speak.

- No. No, no, see, I...

I've been
to all these doctors

and I have all
these medicines.

One doctor said that
she needed sedatives,

another one said stimulants,
and I've been massaging

her forehead every morning
just like Dr. Gray said.

And Dr. Matthews said that he
thought it was hot baths,

so I've been giving her
hot baths every night.

[thumping stops]

And then we had, um,
these tests done on her

and they injected fluid
in her spine,

and that doctor said
he thought

that she just needed
to eat a little bit more.

Carrington: Mrs. Nicholas.
- They were good doctors.

- If they were such good
doctors, why are you here?

- Because nobody's told me

how to get my baby
to call me Mama.

[kicking resumes]

- Dorothy,
Lynn is mentally retarded.

She has what we call
anoxic brain damage.

There wasn't a sufficient supply
of oxygen for her

during delivery.

- I was late getting her
to the hospital.

Do you think it...it was
my fault, wasn't it?

Carrington: No.

No one knows what causes it,

but I'm sure that that had
nothing to do with it.

- Well, what's
the treatment, Doctor?

Because if it's money,
that's not an issue...

Carrington: Dorothy.

Her brain
will never develop.

She'll be four years old
forever.

- But, I mean...but they...
they said that...

- I'm sorry.

I'm a mother myself.

My advice to you is
to put her in an institution

where she can get
the best possible care.

- I can't do that.

- You're a young woman.
You can have other children.

- [sobs]

- [playing one note]

- Lynn?

Lynn, honey,
try another note.

Come on, sweetie.

There are other notes
for you to play.

- Dottie, we should take
the doctor's advice

and put her in an institution.

She knows best.

The state'll pay for it.

- The state pays for what?

It's our child.
She belongs with us.

- We belong in Paris.
That's where we belong.

- Paris?

What are you talking about?

- Dottie, it's a whole different
ball game over there.

See, they don't know
the difference

between black and white,
and when they do,

it's because they're treating us
better than they do their own.

- I can't go live in Paris.

Lynn is gonna need
special care.

- Get special care.

- Not in an institution!

[single piano note repeating]

- She doesn't even know
that we're here.

[car horn honks twice]

- I can't even believe
this is what you're saying.

- When will you join me?

- I'm her mother,
and you are her father.

- And I married you,

not this.

- Well, I am this.
What are you?

- I'm Harold Nicholas
of the Nicholas Brothers,

and maybe
that's all I'm supposed to be.

I'll send you money from Paris.

[somber piano music]

♪ ♪

Dorothy: The best part was
she didn't know he was gone.

[chuckles]
So she never even missed him.

[sighs]

How many times
did I tell you, Geri,

that the next man
would be different?

[chuckles]

It's funny.

You never notice the good ones
when you should.

[distant laughter]

[distant jazz piano plays]

[overlapping chatter]

- Listen, so, uh, we're just
taking a cigarette break?

- All right.
- Ha ha!

Not ready to leave yet,
are you?

man: Oh, no, no, no.

♪ ♪

[doorbell rings]

- Welcome to Fillmore's
Ring-a-ding swing-a-ding.

- Thanks.

Ring-a-ding much.

Where is Swing-a-ding Phil,
anyway?

- Coo-chee-cooin'
the elephant.

- Hmm?
woman: You know.

Ticklin' the ivories.

- Funny, in my day,
we used to call it

playing the piano.

- When was your day?
- Preceding thy genesis.

- Huh?

- Before you were born.

[piano music continues]
[laughter, chatter]

Sorry.
'Scuse me.

'Scuse me.

'Scuse me.

♪ ♪

Nice party, Phil.

- Earl.

Have a drink.
Have a couple.

[women giggling]
- Oops!

Ha ha ha!

- I didn't come for
a drink, Phil,

and I didn't come
for a party.

I left a meeting because
you said there was a girl

I just had to hear.

- Aw, Earl, don't be mad.

- I manage your music career,
Phil, not your harem tryouts.

- Oh, well, uh,

girl's around here somewhere.

- Good night, Phil.

- [chuckles]

[piano playing stops]

["That's All" begins]

♪ ♪

Dorothy:
♪ I can only give you ♪

♪ Country walks in springtime ♪

♪ And a hand to hold ♪

♪ When leaves begin to fall ♪

♪ And a love
whose burning light ♪

♪ Will warm the winter night ♪

♪ That's all ♪

♪ That's all ♪

♪ There are those, I am sure ♪

♪ Who have told you ♪

♪ They would give you
the world ♪

♪ For a toy ♪

♪ All I have are these arms ♪

♪ To enfold you ♪

[women giggling]

- All right.
Who was that?

- Just legs from my harem.

[giggling continues]

- Which one of you
was just singing?

- Why do you want to know?

- Because whoever sang
that song,

I'm gonna make her a star.

- Well, we don't even
know your name.

- I'm Earl Mills.
I'm a music manager.

- Well, Earl Mills,
the music manager,

I'm Ava Gardner.

- My name's Marilyn Monroe.

- I'm Dorothy Dandridge.

- You got a face like an angel,
you know that?

- [giggles]

- [chuckles]

You sang that song.

- I'm not a singer,
Mr. Mills, I'm an actress.

- Of course you are,
but, uh,

maybe between movie roles
you'd like to sing a little bit.

- No, I'm a serious actress.
I'm studying at the Actors Lab.

- Ooh. My, my.
Actors Lab.

Look, forgive me, but things'll
go better for you

in this business
if you're a singer.

- I've got a major role
in a major motion picture.

Starts shooting next week.

- Hey.

What's the big role?

- Queen Melmendi.

- [chuckles]
- [giggles]

- Ah.

- [grunting]

- [grunting]

- Geez!
man: Cut!

Look, will somebody please
pre-cut the ropes?

I mean, Lex is fumbling
all over the place!

- [unintelligible]
- Yeah, okay, do it!

- Yes, sir, yes, sir.
Right away.

Tommy?
- Excuse me.

- What?
- I was wondering.

Queen Melmendi is queen
of the jungle, right?

Well, if she lives here,
then why does she need Tarzan

to help her find
her way through it?

- What's your name?
- Dorothy.

- Dorothy. Okay.
Dorothy, sweetheart?

Can you do something
for me, please?

- Mm-hmm.
- Good. Would you go lie down,

let me see more skin
than cloth,

and keep the queen
of the fucking Congo quiet?

Jimmy, fetch me a Coca-Cola!

Jimmy: Coming up, sir.

- Look, I want to
see more skin, okay?

I don't care what we have
to do...

- Hey, Sammy, got a smoke?
- Sure thing.

- Boy, that was, uh...

What happened to your face?

- Guess I wasn't black enough
to lead the tribe.

- [laughs]

- Go ahead, say it.
You were right.

- I was right.

But you were right,
too, you know.

Queen Melmendi would definitely
know the way

out of her own jungle.

I'm willing to bet...

She still does.

- [chuckles]

[laughs]

Come on.
Just give me one last hug.

Come on, sweetheart.
Thank you.

Oh!

- Dottie Mae, honey,
let's go.

You're gonna miss
your plane.

- Mmm.

Okay, sweetheart,
listen.

Your nurse,
she's very nice, honey.

She's even got a piano.
Ha!

You're gonna like living here.

I know you will.
Look, look.

Remember the locket

I gave you, huh?

- This means...
- [grunts]

- That I belong to you

and you belong to me,
okay?

And when you miss me,
you just grab it,

you just hold on to it
real tight, okay?

And I'll be there.

- [grunting]
- Okay?

woman: Come with me, Lynn.

[somber music]

♪ ♪

- I don't know, Mama.

Maybe I should stay here
and help her or somethin'.

- Now, Dottie Mae,
we talked about this.

You're not gettin' enough
from your divorce settlement.

You don't work, you're not gonna
be able to pay that nurse.

I'd take care of Lynn myself,
I would,

but I gotta work, too.

I'm always at the studios.

Now, you got to think
of your career first.

Dottie Mae, that child don't
even know who you are.

- It's so hard for me
just to leave her, Mama.

[sobs]
- I know, baby, I know,

but you got to pull
yourself together, honey.

We cannot keep
Miami Beach a-waitin'.

Take her in the house, honey.
Take her on in the house.

[upbeat Latin music]

♪ ♪

man: It's great to be
back here in Miami Beach...

- Uh...

we're gonna be staying
at a hotel.

It's, uh, just outside
the city limits.

- Mm-hmm.

- And, uh, I...I think
we should probably use

the service entrance
when we come in here,

don't you think?
Dorothy: Mm-hmm.

- Oh, and don't...don't talk
to any of the patrons...

- Earl, just say it.

- What?

- You think I've never
been to the South?

I can't stay in Miami Beach,

I can't use the front entrance,

and I can't speak
to the patrons, right?

This isn't a tan, Earl.

I'm a Negro,
a colored girl.

You did happen
to notice that, didn't you?

- I noticed.

- Now, listen, if we're going
to work together,

you can't tiptoe around me.

You have to say it
straight out.

- Yes, ma'am.
Dorothy: Good.

Now, come on, honey.

Zip me up so I can run
to the bathroom.

Come on.

[man continues monologue
in background]

- This is your bathroom.

You told me to say it
straight out.

Angel face.

- I think President Truman's

done a lot for the country.

For one,
he moved to the city.

[taps drum]

You're a wonderful crowd,
and this is a classy joint.

- Dorothy, wait.

man: They even have
midget waiters here.

- What?

- Look at this place.

- I asked one waiter to put
a phone on my table,

but he couldn't get
the booth off the wall.

[rim shot]

Boy, can the people
drink here.

One guy stumbled out
of here last night,

bumped into a uniformed
man outside.

He say, "Hey, buddy"...

- I can't perform here.

- I've seen worse.
At least they paid.

- You go find the owner,
and you tell him

I'm not performing inside
this disaster area!

- Oh, really?
There's the owner right there.

You want to ruin your career,
you can tell him yourself.

- Fine. I will.

- Dorothy, wait, wait.

I was kidding.
Let me handle this.

- Mr. Scott?
- No. Dorothy.

- Mr. Scott?
- I'll handle it.

- Dandridge. Good. You're on
right after this joke.

- I'm the manager.
She's not going on after him...

- Because I'm not performing!
- Shh!

- What did you say?
- She won't work in a place

where she has to enter stage
rear, sleep outside the city...

- Or use a Dixie cup!

- Quiet.
Or use a Dixie cup.

- [scoffs]

All right.
- What?

man: He says, "Don't worry.
I'll see you on Friday."

[rim shot]

- You see that man
sitting at table two?

That's the city
building commissioner.

When he found out
I was opening a club

where colored acts share
dressing rooms with whites,

he held up my construction
permits until tonight,

and most of these people
are his friends.

[man continues
hammering]

You see
that busboy there?

His name
is Corey Williams.

He earned the Silver Star
at Guadalcanal,

came home,
got his degree on the GI Bill.

But no one would hire him

except me.

Now, I tried to get
as many of my friends here

to support
what I'm trying to do,

but tonight my friends
are few and far between.

So if you don't wanna
perform,

I don't blame you,

but don't blame me.

- Well, it's been a pleasure

playing
the Miami Beach Mortuary.

May you all rest in peace.

Good night,
ladies and gentlemen.

[thump, microphone feedback]

- Hey. Hey, hey, hey.

- Oh.
Got any advice?

- Yeah.
Kill 'em.

- [sighs]

- Thank you.

[sawing, hammering continue]

[background chatter]

[microphone feedback]

- Good evening.

I'm Dorothy Dandridge.

[sawing continues]
[background chatter]

["I've Got Rhythm" begins]

♪ ♪

♪ What care I
for fortune or fame? ♪

♪ They never mattered a lot ♪

[sawing, chatter continues]

♪ I don't have a right
to complain ♪

♪ As long as I've got ♪

[hammering continues]

♪ What I've got ♪

♪ ♪

[music tempo increases]

♪ ♪

♪ I've got rhythm ♪

♪ I've got music ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ I've got daisies ♪

♪ In green pastures ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ Old Man Trouble ♪

♪ I don't mind him ♪

♪ You won't find him
'round my door ♪

♪ I've got starlight ♪

♪ I've got sweet dreams ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ ♪

♪ I've got rhythm ♪

♪ I've got music ♪

♪ I got my man ♪

♪ Don't need no more ♪

♪ Daisies in green pastures ♪

♪ Same man as before ♪

♪ Trouble never finds me ♪

♪ Life's a beautiful thing ♪

[snapping]
♪ 'Cause I've got rhythm ♪

♪ It makes me happy ♪

♪ Music that makes me
wanna sing ♪

♪ For I've got a man ♪

♪ Ooh, what a man ♪

♪ A beautiful man I adore ♪

♪ Who could ask for ♪

♪ Anything ♪

♪ ♪

♪ Anything ♪

♪ More ♪

[crowd cheering and whistling]

[crowd clamoring]

♪ ♪

♪ I've got rhythm ♪

♪ I've got music ♪
[loud cheers and applause]

♪ I got my man ♪

♪ Don't need no more ♪

♪ Daisies in green pastures ♪

♪ Same man as before ♪

♪ Trouble never finds me ♪

♪ Life's a beautiful thing ♪

♪ 'Cause I got rhythm ♪

♪ It makes me happy... ♪

[singing fades]

- Mmm.

[sighs]

Audrey Hepburn's
playing Sabrina.

[scoffs]
- Mm-hmm?

- And Ava Gardner,

she's got another film now...
- Vivvy.

- I can't help it
if your name's not in here.

- I'll get another role soon.

- Oh, yeah, I see right here
where Hollywood's

just begging Negroes
to star in their films.

- Why do you have to be
so gloomy?

- Because I haven't worked
in two years,

and let's not mention
your last big role.

- "Bright Road"?
That was a very important film.

- Important to who?

It's practically
breaking records

for the lowest box office
in the South.

- Thank you, Vivvy.

That was the cherry
on the pie of my week.

- I am having
a really great day.

Okay, I'll tell ya.

Fox is doing a film
of Bizet's "Carmen."

Lyrics by Oscar Hammerstein.

- Whoop-de-doo.

- Oh, that's right.
I didn't say.

They're using
an all-Negro cast.

Yeah.

- Do you know how many colored
actresses want this part?

Every colored actress:

Lena Horne, Eartha Kitt,
everybody.

"Carmen Jones"
is the best part

for a Negro actress in years.
Ever.

- Hey, she is Carmen.
- [sighs]

- You should have seen her run
at La Vie en Rose.

They were literally handing out
the "Kinsey" sex report

at the door,
she's so hot.

- Okay, that was New York,
not Hollywood.

That was a nightclub
and not high drama.

And I've seen
her last two pictures,

and that's all, folks.

- Oh, come on, she's been shoved
into nothing but banana hats

and curled slippers for a year,
and you know it, Joey.

Now, come on.

Joey, just get her
a reading with Preminger.

That's all I'm asking.

- Just a reading?

Just Otto Preminger?

Do you know what I do
every morning, Earl?

- No, Joe.

- I get up every morning
at 5:00 am when it's still dark,

and I drive all the way
from the Valley to the studio,

and along the way,
I see faces.

Faces on billboards,
faces on bench ads.

Familiar faces.

Famous faces.

The faces of movie stars.

The faces that I see
out of my car window

are the faces for whom I get
readings with Otto Preminger.

And not once,
in all my drives,

have I ever seen the face

of Dorothy Dandridge.

Now, good night.

[triumphant music]

♪ ♪

[comical echo
of triumphant music]

♪ ♪

[distant telephone rings]

- I wonder, why did Joey Young
decide to get me a reading?

- Apparently he saw you from his
car window one morning.

- [laughs]
No kidding?

- No kidding.

- Mr. Preminger
will see you now.

- What?

- I just realized
this is the moment

I've always dreamed of.

- Your reading
with Preminger?

- A chance.

- Oh...

let me handle this,
will ya?

[door closes loudly]

Mr. Preminger?

- [sighs]

[blows]

[pen scratching on paper]

- Mr. Preminger,

I'd like you to meet
Carmen Jones.

- Ooh.
Ha ha ha.

Carmen Jones?

No.

I will give her a reading
for the role of Cindy Lou.

- Cindy Lou?

Isn't that the sweet girl

that gets dumped for Carmen?

- There must be
a misunderstanding.

- 'Scuse me?

- I said there must be
a misunderstanding.

Miss Dandridge is here

to read for the part
of Carmen.

- You have come
into my office,

but you have not brought
Carmen with you.

You have brought
yourself with you.

Good little girl,
nice gloves...

asking for a reading
for the role of a wild woman.

You are not Carmen.
You're Cindy Lou.

Dorothy: But Mister...
Earl: Dorothy is an actress,

Mr. Preminger.
- She is Cindy Lou.

- I'm sure if you'd just
give her the opportunity...

- This is final.

[papers rustling]

- You know what you are,
Mr. Preminger?

- [whispers] Dorothy.
- You're a bulldog.

You're a big,
fat bulldog!

That's what you are.

- What did you call me?

- A bulldog.

- [laughs nervously]

She's...nervous.

[stammers]
Thank you for your time.

Cindy Lou.

We'll look at Cindy Lou.

Mama:
Oh, she's on every page.

Look at this!
- What part?

Who's gonna play this part?
I can play this part.

They'd never see me,
though, would they, Mama?

- I'm not going back
to read for Cindy Lou.

Don't know why you're
still lookin' at that.

- You should be grateful
he's considering you for a part.

I couldn't get
an audition if I tried.

- I don't want to be
Cindy Lou.

Mama: So that's what
you gonna do?

Just give up?

- He won't give me a chance,
Mama.

- Well, if you're waitin'
for them to give you a chance,

you're gonna have
a hard row to hoe.

Honey, you have got
to take your chances.

Now, you think about Carmen.

This girl is all about sex.

She looks like sex.

She smells like sex.

She even moves, you know,
she moves like sex.

- Mm-hmm,
that's the way.

Use the equipment
Mama gave you.

You got to walk in there
like Carmen.

- But that old bulldog won't
even let me read for Carmen.

- Honey, we're not talkin'
'bout readin'.

We're talkin' 'bout
walkin'.

- [laughing]

Now, you can get
this part.

- By walkin'.

[all laugh]

Dorothy:
Have you seen my man?

That Carmen Jones
snatched him from me,

and I'm lost over what
to do about it.

Can't decide

if it's better me follow him
up to the Windy City...

Or should I wait...

For him to come back
to his happy hearth and home?

Tell me what to do.

I'm Cindy Lou.

- The hell you are.

- [chuckles]

- [chuckles]

- Girl, I was Carmen.

"Miss Dandridge,
can I get you this?"

"Miss Dandridge, can I
get you that?"

Remember, they hired
that opera singer

to come do
my movie singin' for me?

[giggling]
Mm-hmm.

They did.
[chuckles]

Then one morning I woke up,

and I just couldn't breathe.

- What are you telling me?
She won't make the picture?

I start shooting tomorrow!
Wonderful!

Where is she?
- She won't do it.

I've talked to her
three times.

She won't do it.

She doesn't want
to anger the Negro community.

- "Anger the Negro community."
That's ridiculous!

The first all-Negro film!

First released
by a major studio!

- Yes, in which she plays
a Negro whore.

- It's not a whore!
It's a woman, not a whore.

- Otto, Otto.
A critic suggested

that Hollywood depicts
all Negro women

as either mammies
or prostitutes.

- Yeah, but this is...
it confuse me.

First the studio
won't approve the film

because it's all-Negro.

Then they will do the film,

but only if the NAACP
also approves.

Now Miss Dandridge
won't make the film

because
even though the NAACP

and the studio approve...

one man who writes one article
does not.

She's scared, yes?

- Yeah.
Terrified.

Otto.

You're not really the asshole
you seem to be, are you?

- This, little gentleman,
is something neither you

nor anyone else
will ever know.

[two short knocks on door]

- Earl, go away!

I've already
made up my mind!

Otto: It's not Earl.
Open.

Miss Dandridge.

- Call me Dorothy.

Most...directors that barge
in my house usually do.

- You decline
to play Carmen?

- I've already proven
I could get the part.

No real reason
for me to play it.

- Hmm.

Maybe you are not good enough
to play the role.

Maybe you have no talent.

- I've got more talent
than anybody in this town.

You won't find
a better Carmen than me.

- So, you know you can do it,
I know you can do it.

That's not your fear.
It's the gamble.

- What would you know
about that?

- I, too, am taking big gambles
on this picture.

If it doesn't work,

then everybody will say
Otto Preminger is a fool

thinking he can make
a all-Negro musical.

And if I succeed,
then I will be a genius.

[chuckles]

You know how I know
it will work?

Because I have my Carmen.

I have you.

- What if they don't like me?

- They will love you.

I will make them love you.

I may be a...old bulldog,

with a bald head,
but this is what I can do.

- I didn't mean to say that.

- No, no. It's all right.
I know I'm ugly.

My gift is to bring
the beauty

to the world.

I know women.

I know how to light them,
to shoot them,

to create them
for the screen.

And if you let me,

I will seduce the audience
for you.

I will make sure

that they will never forget
the name Dorothy Dandridge.

I will make the name
shine brighter

than all the lights here

[whispers]
in our city.

- Otto...

You're not so ugly.

[laughs]

[gentle music]

♪ ♪

- Sir, we're ready to go.
Are you?

- Are we ready? Really?
I don't think so.

I mean, this has to be here.
Move it.

The food has to steam, steam!

It's...it's hot, not cold.

What about here, the flowers?

That's ridiculous!
Get rid of them.

We are not in a restaurant.
We are in a mess hall.

What's here?
That's red.

I said no one wears red.
Put a...a blue scarf...

You know what? Forget about it.
woman: I'll take that.

- Put that to the back.

And where's my coffee?
Is that too much to...

- Right here, sir.
- Cup of coffee?

Where's Miss Dandridge?

- Still in her
dressing room, sir.

- Oh, that's fine.

Well, please let her
know that we are ready

and she should join us.

Not bad.

She's late for
the first shooting day.

Who else is late here?

- Otto...
- Who the hell are you?

- I'm Earl.
- Get just out of my way.

Good day,
Miss Dandridge.

- Good day, Mr. Preminger.

man: Oh, this is ridiculous.

I'm gonna lay it out.

[overlapping chatter]

- I have to tell you,

rule number one:

never be late on a set.

- Okay, folks, quiet down,
settle down.

Okay, this is gonna be
for picture,

ladies and gentlemen.
Let's make it a good one.

Folks, just like I said,
just like we rehearsed.

Okay? Nice, comfortable meal.
- Thank you.

man: Nice conversation.
No extra noise.

No silverware clattering,
none of that, okay?

We'll do that later. Okay!
First positions, everybody.

- [exhales]

man: You look
as good as me.

[overlapping crewmen chatter]

- [exhales]

- Roll 'em.

- Roll 'em!

[bell rings]
man: Speed.

- Scene 30, take one.
Marker.

- Background!

- Action!

- Hmm.
Congratulations, Corporal.

That Airs Corps sure was smart
in pickin' you out

of this whole outfit
for the officers' flying school.

- Thanks.
- [chuckles]

- Hi, Carmen.
- Hi.

woman: Well! Get a load of this
hip-swingin' floozy

rollin' round to work
in time for lunch.

- Prune puss,

you make sounds
I don't like.

- I'ma tell the foreman
you was late again.

- You do that,
and I'll scratch out

the one good eye
you got left.

- Hey, Carmen, why don't you
come to Pastor's

with me tonight?

I can dance those other boys
off the floor.

- T-Bone, you're too little
and too late.

- I don't waste no time.
Dig me, baby?

- Wasting your time right now,
Sergeant.

The wind's blowin' me
in another direction,

and it ain't no use
arguin' with the wind.

- Hey, how about going out
with me tonight

instead of playin' the field?

woman: Yeah, Carmen,
pick out one.

That'll release
the rest of 'em.

Marilyn Horne:
♪ I won't pick out a man ♪

♪ And he won't pick out me ♪

♪ It don't go that way ♪

♪ You can't ever know ♪

♪ ♪

♪ Where your crazy heart ♪

♪ ♪

♪ Wants to go ♪

♪ ♪

♪ Love's a baby
that grows up wild ♪

♪ And he don't do
what you want him to ♪

♪ Love ain't nobody's
angel child ♪

♪ And he won't pay
any mind to you ♪

♪ One man gives me
his diamond stud ♪

♪ And I won't give him
a cigarette ♪

♪ One man treats me
like I was mud ♪

♪ And all I got
dat man can get ♪

female chorus: ♪ Love's a baby
that grows up wild ♪

Horne: ♪ Dat's love ♪

chorus: ♪ And he don't do
what you want him to ♪

Horne: ♪ Dat's love ♪

chorus: ♪ Love ain't nobody's
angel child ♪

Horne: ♪ Dat's love ♪

chorus: ♪ And he won't pay
any mind to you ♪

Horne: ♪ Dat's love ♪

- Cut!

[buzzer]

Horne: ♪ But if you're hard
to get, I go for you ♪

♪ And if I do,
den you are through ♪

♪ Boy, my baby ♪

♪ That's the end of you ♪

- [shrieks, laughs]

chorus: ♪ The end of you ♪

Horne: ♪ So take your cue,
boy ♪

♪ Don't say I didn't
tell you true ♪

chorus: ♪ She told you true ♪

Horne: ♪ I told you truly ♪
[Otto whistles]

- [giggling]
Horne: ♪ If I love you ♪

- Voila.
[giggles]

Horne: ♪ Dat's de end of you ♪

chorus: ♪ You go for me
and I'm taboo ♪

♪ But if you're hard
to get, I go for you ♪

[both growl]

chorus: ♪ And if I do,
then you are through ♪

♪ Boy, my baby,
that's the end of you ♪

♪ The end of you ♪

Horne: ♪ So take your cue,
boy ♪

♪ Don't say I didn't
tell you true ♪

chorus: ♪ She told you true ♪

Horne: ♪ I told you truly ♪

♪ If I love you ♪

♪ Dat's de end of you ♪

♪ ♪

- What is it?

- Nothing.
Go ahead.

- Hmm? "Go ahead."

Where could I go in our bed
without you?

Hmm?

- [sighs]

- What's wrong?

- Nothing.

- The truth.

Don't cry.

- I just never...

Really much liked sex,
that's all.

- Should have told me.

- It's okay.
I don't mind.

- I mind.

If you never liked sex,

then probably

you never had sex.

You're still untouched...

inside.

Deeply inside...

in your heart.

We will discover your heart
and open it together.

There's no hurry.

Not at all.

[chuckles]

We have all the time
in the world to do this.

All the time in the world.

- I love you.

[gentle music]

♪ ♪

man: So, Dorothy,
listen to me.

I saw that Tarzan
picture you were in.

What a stinker.

But I gotta tell you,

in the middle
of all those monkeys,

and all that monkey shit,
you were the one thing

that made my troop salute.

- [chuckles]

Is that why you asked
to see me, Mr. Zanuck?

- You know, this is my studio,
and when I see an entertainer

with such extraordinary assets,

I want to make sure
that 20th Century Fox

further explores
that entertainer.

- Could we...I thought we were
here to discuss a deal.

Zanuck: I have seen
the "Carmen" dailies.

And you're on fire.

And I felt the heat.

- I hope you don't think

we colored girls
drop our panties

every time one of you white
boys pays us a compliment.

- [laughs nervously]
Dorothy, I...

I don't think Mr. Zanuck
is say...

Zanuck: Well, wait a minute.
Wait a minute.

That's the trouble
with you people.

The colored race

is always focused

on the treatment
you expect to get

instead of the treatment
you're getting.

I'm trying to offer you
a three-picture contract here.

- We're listening.

- The public isn't ready
for a colored leading lady.

- Well...
- Not yet.

But I know she's a star,

so I got a plan.

We're gonna smooth the way.

We're gonna let people
get to know you.

- Won't they already
know her as Carmen?

Zanuck: Carmen's
just the beginning.

I'm gonna do a remake
of "The Blue Angel,"

with you as a Negro girl.

Then I'm gonna have you
play an Italian girl

in a foreign legion picture,

then a Mexican girl.

By this time
two years from now,

the public's gonna love you
so much as the Mexican lead,

as the Italian lead,
that they'll beg to see you

in any white role.

You're gonna be a huge star,
Dorothy.

Just huge.

- So what kind of deal
are we talking about?

- 30,000,
escalating to 75.

- 50,000,
escalating to 100.

- 75,
escalating to 125.

- That's a lot of money.

- We won't accept a penny less.

- That's not what you said
to Ava Gardner.

- Well, Ava Gardner's
the number-one box office girl

in the business.

- Not after "Carmen" comes out,
she isn't.

- [laughing]

Okay. All right.
Here you go.

Come on, come on.

[Earl chuckles]

- [laughing loudly]

- Ava Gardner's salary?

- Her manager's percentage?

[both laugh]

- Where did you learn
to horse-trade like that?

- Otto coached me.

♪ ♪

- The Last Frontier Hotel
is proud to welcome

Miss Dandridge
as their first Negro guest.

We look forward
to her performances.

The chefs are at
her disposal.

Meals will be delivered
to her room.

She can have any dish
she likes.

- You're saying she can't
use the dining room.

- What about
the restrooms backstage?

Can I at least use
the restroom?

- She can, right?
- Well, uh...

- Oh, now, look,

I was told Dorothy would be
extended every courtesy.

- She will be, in her room.
- Oh, here we go.

- The casino and the restaurant
are obviously off-limits.

The club too except, of course,
when she is performing,

and the pool.

- I can't use the pool?

- I don't believe this.

- If she got in the pool,
it would have to be drained.

- Drained?

- Health reasons.

Listen, this is Las Vegas.

Mr. Mills?

I tell you what, I can take

one of the smaller bathrooms
backstage,

mark it, uh, "Coloreds Only."

Now, won't that be nice?

- Swell.

- Don't forget your key.

Have a good stay.

Earl: Jerk.

[distant splash in pool]

Can I get you something?

Coffee?

Tea?

Baseball bat?

- Go ahead, Earl.
Make jokes.

Tonight I'll take my bows
and exit stage rear,

go through the kitchen,
past the casino,

around the pool

that I'm apparently
too dirty to swim in,

up the service elevator,

into my luxurious
penthouse suite,

sip my complimentary champagne,

and pee
in a brand-new Dixie cup!

- I take that walk with you
every night, you know.

- But the difference is,
Earl, you don't have to.

- That's true.
I don't.

- I'm in a big picture.

Somehow, I thought this time,

things would be
a little bit different.

- I know, I know.

You're right.

You're right.

But, Dorothy,

you're the first Negro
to play here.

You're the first, the first.

You're the first
to stay in this hotel.

You're the highest-paid ever.

Angel face...

you make it possible
for it to be different

next time for somebody else.

Now, come on.

Hmm?

I know you got the moxie
to do this.

- How do you know
what I've got?

- Because...

Because I love you.

- Why, Earl Mills.

- [exhales sharply]

Well...

- So now what do we do?

- Whatever you want.

There's one over there.
- Yes.

[mellow background music]

- Excuse me.

Uh, can I help you?

- Uh, yes, actually,
you can.

The mints on my pillow
were stale.

Could you take care of that?

- Perhaps Miss Dandridge
would be more comfortable

in her room?

- Miss Dandridge
is quite comfortable, thank you.

- Are you sure?
- Very.

What a lovely pool
you have here.

- Miss Dandridge, please.

- Oh! Oh, my.
- [laughs]

- Oh, my gosh.

Dorothy:
The water's quite cold,

but lovely nonetheless.

[laughs]

- I hope you're happy.

- No.

I'm not happy at all.

man: Negroes cannot swim
in this pool!

[both chuckle]

[jazzy music plays]

♪ ♪

- Fantastic,
as usual.

- [chuckling]
Thanks.

- Good night.
- Night.

both: Good night.

[swishing sounds]

man: Ladies and gentlemen,
Dorothy Dandridge

here at the New York premiere
of "Carmen Jones."

[chatter, applause]

man:
And here's Robert Wagner...

- Thank you.

man: The mayor
of New York City.

man: You look beautiful.

- Miss Dandridge.
- Oh.

- May we have you take
some pictures with Mr. Belafonte

for the press,
if you wouldn't mind?

Congratulations on the film.

- Harry.

- Nice big smile.

- How wonderful you both look.
Yeah, this is good.

man: Otto Preminger,
director of "Carmen Jones."

- Here's Mr. Preminger.

Mr. Preminger.

May we get some photos of you,
sir, with your cast?

[crowd shouting]

And your wife, too,
of course, if she wouldn't mind.

man: Pearl Bailey.

Miss Bailey, would you say
a few words to the press?

man: All right,
everyone smile, please.

Close together, please.
Tighter.

[overlapping chatter]

- How dare you
parade her in front of me?

[playing piano]

- I didn't know
she was coming.

- It was my night, Otto.

You won't be seen with me
in public, but then I have to

watch you traipse around
with her.

- She's my wife.

- Tell her to leave.

You have an understanding,
remember?

She openly makes the rounds,
Otto, with another man,

and you don't complain
about it.

So why couldn't you spend
the evening with me?

- There's not just you
and me.

There are others
to take care of,

there's a movie
to take care of...

- I don't care about the movie.

- You do.

This is America,
land of opportunity,

but it's America.

If it got out
that we were together...

the movie would never open.

And I want you to be a star.

I want you to have everything.

What you deserve.

My...

our movie...

will change everything.

- I won't just be a mistress.

Otto: Everything.

[sighs]

We will be together

when the time is right.

- So we're getting married?

- When the time is right.

Dorothy:
You were always reminding me

of my responsibility, Geri.

You were so aware.

I thought things
would just fall into place.

If I wanted something
badly enough, it'd just happen.

[chuckles]

- Latest box office reports
through the roof.

- Mmm, and when that reporter
asked me

why I thought whites
were flocking

to see an all-Negro picture,
you know what I said?

Vivian: What?

- I guess people just
like to look at me.

man: Yeah, you know it.

I'm getting offers.
From studios.

With love scenes.

- They've just realized
that colored folk

have sex like everybody else.
[laughs]

- What's important is how well
the picture's doing down South.

It's a big step.
I'm telling you,

integration
can't be far behind.

Dorothy: With that,
another bottle of champagne.

- Hear, hear!
Earl: Waiter.

man: Yes, sir?
- Two more bottles, please.

- No more for you, Vivvy.

- Viv.

- Well, I want to know what
you're wearing

to the Academy Awards.

- Geri, can't ask me that.

Geri: Why not?
- It's bad luck.

- You think you're queen
of the fuckin' world, don't you?

Everybody's talking
about "Carmen,"

the film industry's
colored whore.

- Lower your voice, Vivvy.

- You think just because
you become a big film star

by shaking your tail
that people aren't

gonna treat you
like you're colored?

- Vivvy, why don't you
let me take you home?

- No.
Well, I'm somethin', too.

I'm somethin', too!

I'm more than
Dorothy Dandridge's big sister!

- Shh, shh, shh.

- You ever notice that?

Do you ever notice that,
any of you?

- Why don't you go home
with Earl?

- I don't wanna go!
- Come on, come on.

- I don't wanna go.
- Get in the car and go, Vivvy!

- No!
- Let's go. Come on.

[glass shatters]
Shh, shh.

Vivvy, Vivvy.

- You're not gonna win
an Oscar, Dottie.

They already gave us one.

- All right, let's go, Vivvy.

Let's go.

Vivian: [crying]
No!

Earl: Go.
Vivian: No! No.

- You want her to play...Tuptim?

Who is Tuptim?

That's not the lead role.

- Dorothy, look,

listen to me.

Sometimes you do a picture
just because it's big.

"The King and I"
is going to be huge.

It'll be seen by millions
and millions of people,

far more than ever saw "Carmen,"

and I'm telling you,
Tuptim is a good role.

- She'll be paid
her regular salary?

Zanuck: Of course.
Earl: And it fulfills

one of the three pictures
she's committed to doing here?

- Yes, Earl, absolutely.

- I...we have to think
about this.

I'll let you...
- I'll do it.

Earl: Dorothy.
- I'll do it.

- She says she'll do it.

- Actually, I think a toast
is called for,

ladies and gentlemen.

Toast...
- Toast.

- To the first colored woman

ever nominated for an Oscar
as Best Actress.

To Dorothy.

- Hear, hear.

- Yeah.
- Oh, baby.

- Mama. Thank you.

- Congratulations. Yeah.
- Thank you.

- Congratulations to you.

- Thank you.

For the last three days,

I haven't been able to eat
waiting for these nominations

to come out.

And, Mama, you know
I'm tellin' the truth.

But now, who wants
some chitlins?

[laughter]

- Oh, she's beautiful,
isn't she?

[overlapping chatter]

woman: Oh, I have no idea
what I'm going to wear.

- I don't think
you should do

the Tuptim part after all.

- But I already said I would.

- That was before you were

an Academy Award-nominated
actress.

- Well, but I'm not exactly
being offered anything else.

- You sing...nightclubs

until a real role comes along.

And I will make
a movie soon.

- Zanuck said that Tuptim
was a good part.

- Mm-hmm.
- And he really thinks

it's something I should do.

- None of the other nominees
have to play slaves.

- Wait a minute.
What are you saying?

She's already agreed
to play the part.

- I've changed my mind.

I don't think I should
have to play a slave.

- You can't change your mind.

You shook hands with Zanuck.

- You don't see Audrey Hepburn
playin' a slave.

- Well, you're not
Audrey Hepburn.

- No. Hmm!

She's Dorothy Dandridge.

- Oh, excuse me, Otto,
but Zanuck's not going

to stand for this,
and you know it.

She'll be dead at Fox,
she'll be dead

at every other studio
in town.

Dorothy...
- I will not play Tuptim.

- [scoffs]
Who is this talking?

Is this you?

Is this you or is this Otto?

- I make my own decisions.

- Dorothy, please,
please, listen to me.

Don't do this.

If you do
what Otto wants...

I won't be able to protect you
this time...

- And when exactly
did you protect me?

When I was peein' in the cup

or when they were
drainin' the pool?

- All right.

All right.

Well...

congratulations again...

To both of you.

Geri: Earl? Earl,
where are you going?

- It'll be better without him.

[somber music]

♪ ♪

man: Is here tonight
in New York City...

Dorothy Dandridge,

nominated for Best Actress
in "Carmen Jones."

The other nominees
are Judy Garland,

Audrey Hepburn,
Grace Kelly,

and Jane Wyatt.

["Habanera" from "Carmen"
plays]

♪ ♪

- Thank you, Bob.

If I seem a little nervous...

this is as big a moment for me

as it will be
for the winner of this award.

For Film Editing...

In Hollywood,

"On the Waterfront,"
Gene Milford.

[dramatic music]

♪ ♪

man:
Now, ladies and gentlemen,

here's the Academy Award

for Best Actress of the Year.

- Well, time is running short
again,

so the award for
the Best Performance

by an Actress...

Grace Kelly
for "The Country Girl."

[cheers and whistles]

♪ ♪

- I knew they wouldn't
give it to one of us.

Dorothy: I did win

because I won in my heart.

Vivvy never did understand
that.

[chuckles]

Did I tell you Mama
finally found out

that she moved to Canada?

Says she's got a little boy

and that she's happy.

I hope so.

You never realize

the last time
you see somebody...

that it is the last time.

[jazzy music plays outside]

[knock on door]

man: Few minutes,
Miss Dandridge.

- Thank you.

["Shave and a Haircut"
knock on door]

Otto.

[laughs]

You made it.

So, what do you think
of your choice?

Hmm?
- Ah...

It's a wonderful dress.

- [giggles]
- Make a good team.

- After we're married,
we'll make an even better team.

- Be patient.

- [sighs]

You said...

when the time was right.

Well, the time is now right.
It's 1957.

The world is changing.

If not here, Europe.
We could work in Europe.

- Europe.

- You do love me, don't you?

- I will always love you.

- I want a honeymoon in Paris.

- [chuckles]
- I'll get fat

and have lots of babies.

Boys, a house full of boys.

- Boys and girls.

- Okay.

- Beautiful dream.

- It's not a dream.

[knock on door]

man: One minute,
Miss Dandridge.

- You have to go onstage,
and I have to get to my seat.

- The best seat in the house,
table 15.

- [speaks German]

- [chuckles]
What?

- It's German.

Uh, break your leg.

[jazzy band music
continues]

♪ ♪

[end notes]
[distant applause]

man:
Ladies and gentlemen,

the Mocambo welcomes back
the delicious,

the divine, the delightful

Dorothy Dandridge.

[cheers and whistles]

["You Do Something to Me"
begins]

♪ ♪

- ♪ You do ♪

♪ Something to me ♪

♪ Something that simply ♪

♪ Mystifies me ♪

♪ Tell me ♪

♪ Why should it be ♪

♪ You've got the power ♪

♪ To hypnotize me? ♪

♪ Let me live ♪

♪ 'Neath your spell ♪

♪ You do that voodoo ♪

♪ That you do so well ♪

♪ You do ♪

♪ Somethin' to me ♪

♪ That nobody else ♪

♪ Can do ♪

[tempo picks up]

♪ You do somethin' ♪

♪ Somethin' to me ♪

♪ Somethin' that simply
mystifies me ♪

♪ Tell me, tell me
why should it be ♪

♪ You've got the power
to hypnotize me? ♪

♪ Let me live 'neath
your spell ♪

♪ You do that voodoo
that you do so well ♪

♪ Oh, you do ♪

♪ Somethin' to me ♪

♪ That nobody else ♪

♪ ♪

♪ Can do ♪

♪ ♪

♪ You do ♪

♪ Somethin' to me ♪

♪ That nobody else ♪

♪ ♪

♪ Can do ♪

[cheers and applause]

["Somebody" begins]

♪ ♪

♪ Everybody needs ♪

- Thank you.

Dorothy: ♪ To care ♪

♪ For somebody ♪

♪ ♪

♪ All your dreams
were meant to share ♪

♪ With somebody ♪

♪ ♪

♪ Someone to have ♪

[sighs]

[clears throat]

♪ ♪

[knock on door]

Who is it?

- Jack Denison.

I'm the manager here
at the Riviera.

- Yes?

- I wanted to tell you
what a thrill it is

having you here with us.

- Thank you.

Um, if you don't mind,
Mr. Denison,

I'm a bit tired, so, uh...

- Oh, no. I just came by
to bring you these.

- Daisies.
[chuckles]

- Compliments of the hotel.

I hope they're all right.

- Yes, they're...they're lovely.
Thank you.

Just an unusual choice,
that's all.

Jack: Someone very special
to me loved daisies.

She died.

Childbirth.

- Childbirth?

Jack: She was a lovely woman.

We were to be married.

She went into labor early.
We were on vacation,

and no white hospital
in the area would take her.

- She was a colored girl?

- Try to put flowers
on her grave every week

and on our child's.

- That's lovely.

Um...

Have...have a seat.
Stay if you want.

Go on.

- Please,

let me do that for you.

- Thank you.

Mama: Dottie Mae,
I'm tellin' you,

don't marry that man.

He ain't no good.

I can feel it all in my bones.

- I'll tell you one thing
Auntie was right about.

A man and 5 cents'll pay
a colored girl's fare

all the way to nowhere.

[sighs]

- Miss Dandridge,
I've been looking for you.

They brought in a new director.

- Who is it?
Otto: Miss Dandridge!

Mr. Poitier and I have been
ready to shoot

for some minutes now.

- I've only just
arrived myself.

- I have seen the rushes.

Your performance
is not credible,

almost ridiculous.

- I don't think
that was necessary.

- Would you care to direct
the picture, Mr. Poitier?

Would you?

So,

in the scene,

you have just been raped,
right?

You are supposed
to be upset, broken.

Instead, you have been
prancing around

like a queen
on her throne,

using glycerin tears

because you are too lazy
to make yourself cry.

- I'm not lazy.
- You are pathetic!

What happened to you?

You used to be
a beautiful thing.

Now you're nothing,
and if you're going

to mess up my picture,
you little sniveling brat,

then I will make sure
that you will never work again.

Good.

Places, everybody!

Move!
- [gasps]

[crying]

- Real tears, finally.

Page?

Roll 'em.
[bell rings]

man: Roll 'em.

man: Speed.
man: Rolling.

- Do you think he ever
really loved me?

Hmm?

Poitier: Dorothy,

you're not even over Otto.

Now, I'm your friend

and I'm telling you,
now is the time

to concentrate
on your career,

not on another white man.

♪ ♪

- Jack?

- He had a child,

but she died with the mother

after he left them
in a motel to starve.

He's a con man.

I hired a private investigator,
and he told me.

Denison isn't worth the dirt
under your feet.

- Sometimes you stand
on the edge of a cliff

and you jump.

You jump because
you're tired of being scared.

Sometimes you jump

just to see what
it feels like to fall.

[door opens]

[door closes]

Jack?

Hi, honey.

It's 4:00.
Do you think maybe

you should get yourself dressed?

- I am dressed.

Dressed for the work I do,
which is nothin'.

When I get my club back,
I'll get dressed, all right?

- Okay, fine.

Not tryin' to start
a fight here, honey.

Can I get you
somethin' else to drink?

- You said get dressed.
What am I gonna get dressed for?

- Your day, your night.

Whatever.

- What did you mean by that?

Do you think I lost my club

sittin' around all day
in my robe?

- No, honey.

You want to stay in your robe,
then stay in your robe.

- I lost my club
listenin' to you sing

in front of
an empty house.

You're supposed to know
people in this town,

but you don't know nobody.

- I lost most of my income
singin' there, remember?

You never paid me a dime...
- Are you saying that singin'

in the club hurt your career?
- For any one of those dates.

- Is that what you're saying,
that I hurt you?

- No!
- What are you saying?

- I'm saying you need
to calm down, honey.

- Remember...
- I can't remember anything

with you bitching at me
all night about my robe!

[glass shatters]
- [screams]

No, Jack, no!

No, Jack, don't!
No!

[crying]
No, Jack.

Don't, Jack!
Don't do it...

Ah! Oh!

Jack! No!

No!
Jack, no!

- Miss Dandridge,
when did you find out

you owed over $127,000?

man: Were you responsible
for the bank loans,

credit debts,
and bad investments,

or was that your ex-husband?

- You declared bankruptcy,
but what about the back taxes?

- She's not answering
any questions.

- Is it true Mr. Denison
pawned all your jewelry?

- Dorothy, give us a statement.

- Miss Dandridge,
you have stated

your child is a danger
to herself and others,

that you are unwilling
to care for her,

and that you will
relinquish parental rights?

- Well,
I hired a caretaker,

but I haven't been able
to make the payments

because
I haven't had any...

- Yes, we've all
heard the testimony.

Are you willing to relinquish
parental rights?

- Yes.

judge: Very well.
Harolyn Nicholas

shall henceforth become
a ward of the court.

Care will be provided
by the state institution

in Camarillo, California.

[Dorothy crying]

- The Mocambo is proud
to welcome back a woman

who has graced
our stage many times.

Her star first rose here

a little over ten years ago
in '51,

and her star hasn't stopped
streaking our skies with light

ever since.

Dorothy Dandridge!

[whistles and applause]

["Somebody" begins]

♪ ♪

- ♪ Everybody needs ♪

♪ To care ♪

♪ For somebody ♪

♪ ♪

♪ All your dreams
were meant to share ♪

♪ With somebody ♪

♪ ♪

♪ Someone to have ♪

♪ A midnight cup ♪

♪ Of tea with ♪

♪ ♪

♪ To have and hold... ♪

[crowd murmuring]

man: The nation suffered
a loss today,

as an apparent overdose
of sleeping pills and alcohol

claimed the life of a treasured
singer and actress,

Marilyn Monroe.

- In Switzerland.

Mm-hmm. They'll teach her
to speak French there.

[knocking on door]

I have to go.

Somebody at my door, okay?

[somber music]

♪ ♪

Hmm.

Why, Earl Mills.

- I heard, uh,

Queen Melmendi was looking
for a way through the jungle.

- Oh...

Geri worries
too much about me.

- Well, she's not
the only one.

Nice place.

- What do you want?

- I want to know
how you're doing.

- I'm fine.
Earl: [scoffs]

I can see that.

I heard about your show
in Puerto Rico.

- Which one?

- Well, you know,
the one where

you were slurring
your words onstage.

- Oh.
Earl: Or was that every show?

- Earl,

if you came here
to start trouble,

you might as well
just keep on going.

- You shouldn't mix
booze with pills.

Didn't your doctor
tell you that?

- You don't manage my act.
- No, your act is all your own.

- And you don't manage
my life!

Why don't you get
out of here?

I'm busy.

I got things to do.

- What do you have to do,
Dorothy,

write more suicide notes?

Geri found this.

- [sobs]

I wrote this because I don't
want anybody to see me.

I don't want 'em to see me
like this, Earl.

If I go,
cremate me right away.

Don't let anybody
look at me.

Don't let 'em just stare at me,
remember me like this.

- Okay, okay,
I promise.

- I don't want anybody
to look at me.

My hands are shaking.

- All right, all right.
Let me hold them.

- I'm so glad
you're here.

- Yeah, me, too.
- I'm so ugly.

- No, you're not.
You're beautiful.

- I need my pills.
- No, you don't.

- My pills are right over there.
If I could just get my...

- I'll keep you from shaking.
- If I get my pills...

- Come on, come on.

You all right?

Hmm?

- You got so old.

- [scoffs]
- When did you get so old?

- This morning.

[both chuckle]

- Well, I would sing for you,
but I think my syncopation

might be a little off.

- ♪ I can only
give you love ♪

♪ That lasts forever ♪

♪ And a promise
to be near ♪

♪ Each time you call ♪

♪ And the only heart
I own ♪

♪ For you and you alone ♪

♪ That's all ♪

That's all.

- [murmurs]
That's all.

[sobs]

[overlapping chatter]

[knocks on door]

- [panting]

Dorothy: Look at you.

What, you go for a run?

- About ten yards up
at the front desk

to pick up this telegram,

confirming a run
at the Mocambo,

two movies in Mexico,

and a booking at Basin
Street East in New York.

- Oh!

Oh!

You know the first thing
I'm gonna do?

- Hmm?
- I'm gonna hire a lawyer.

I'm gettin' my baby back.
That's the first thing.

You want to celebrate?
- Hmm.

- Let's get all dressed up
tonight,

and you can take me dancing.

- Hmm, can I?
Thank you.

- Well, just this once.

- Uh, well, actually,
I can't dance.

- That's okay, honey,
'cause tonight

I'll dance enough
for both of us.

Hmm.

It's Tofranil.
My doctor prescribed it

for my depression,
remember?

You want to see the bottle?

- [laughs] No.
I know you're better.

[sets down bottle]

- I am better.

Now, let me go put on
something festive...

[crack]
Oh! Oh!

- What'd you do?
- Oh!

Oh, Earl!
- All right.

Don't move, don't move.
- Okay.

I think I broke it.
- Shh, don't move, don't move.

Dorothy: Mm-hmm.

Well, the sun's
comin' up now, so...

[chuckles]

No, I can't.

I'm leaving for New York
with Earl today.

You know I got my shows to do,
remember?

Well, if the cast doesn't
bother them,

it certainly doesn't bother me.

I think you should get
to bed now.

Geri,

I love you.

Thank you for everything.

Okay.

♪ ♪

[telephone rings]

[ringing]

Hello?

Why, Earl Mills.

I was just thinkin' about you.

No, really, I was.

What time are you
gonna pick me up?

Ooh, can we make it later?

How about 10:00?
A girl has to pack, you know.

[chuckles]

Okay.

I'll see you then.

[sighs]

[line trilling]

[suspenseful music]

♪ ♪

[line trilling]

Dorothy?

Dorothy!

Dorothy?

♪ ♪

Angel face?

Angel face.

Angel face?

[sobbing]

♪ ♪

man: You know this could have
been the fractured ankle?

Flakes of bone marrow
get into the bloodstream,

cause an embolism.

- How many times
do I have to tell you,

the easy answer is
usually the right answer?

There's a bottle of Tofranil
on the dressing table.

More than likely,
she just overdosed.

- Excuse me.

Excuse me!

Could you please ask
these officers to leave

or cover her up?

She wouldn't want
people staring at her.

man: Guys, wait outside.

- Come on.
- All right.

- I don't see any evidence...
- No, no, no.

- Here at all.
- We have a suicide note.

- No, no, no, no, no.

She wrote that note
months ago.

- Suicide notes don't
exactly expire, you know.

- Oh, wait a minute.

She didn't kill herself.
We were going to New York.

- Mr. Mills, could you wait

in the other room, please?
- We were going to New York.

She didn't kill herself!
- Mr. Mills, please.

- She didn't kill herself.
- Mr. Mills, please.

- I'll be damned, Richard.

Wasn't she some kind
of colored singer?

[somber music]

♪ ♪

[overlapping chatter]

♪ ♪

[Earl groans softly]

♪ ♪

[inhales shakily]

♪ ♪

man: Hollywood
mourns the passing

of Dorothy Dandridge.

A nightclub singer and actress,

Miss Dandridge
is perhaps best known

for her Oscar-nominated role
as Carmen Jones.

The L.A. County
Coroner's Office

ruled that Miss Dandridge
died as a result

of an overdose of
the prescription drug Tofranil.

However, they declined
to determine whether the death

was an accident or a suicide.

She is survived by a daughter,
Harolyn.

Miss Dandridge was 42.

♪ ♪

[warm piano music]

♪ ♪

- ♪ What care I
for fortune or fame? ♪

♪ They never mattered a lot ♪

♪ I don't have a right
to complain ♪

♪ As long as I've got ♪

♪ What I've got ♪

♪ ♪

[tempo picks up]

♪ ♪

♪ I've got rhythm ♪

♪ I've got music ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ I've got daisies ♪

♪ In green pastures ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ Old Man Trouble ♪

♪ I don't mind him ♪

♪ You won't find him
'round my door ♪

♪ I've got starlight ♪

♪ I've got sweet dreams ♪

♪ I got my man ♪

♪ Who could ask
for anything more? ♪

♪ ♪

♪ I've got rhythm ♪

♪ I've got music ♪

♪ I got my man ♪

♪ Don't need no more ♪

♪ Daisies in green pastures ♪

♪ Same man as before ♪

♪ Trouble never finds me ♪

♪ Life's a beautiful thing ♪

♪ 'Cause I've got rhythm ♪

♪ It makes me happy ♪

♪ Music that makes me
wanna sing ♪

♪ For I've got a man ♪

♪ Ooh, what a man ♪

♪ A beautiful man I adore ♪

♪ Who could ask for ♪

♪ Anything ♪

♪ ♪

♪ Anything ♪

♪ More ♪

[cheers, whistles, and applause]

[somber music]

♪ ♪