Knowledge Identifier: +Dorothy_Dandridge
Category: Movies & TV
Born in 1922.
Countries: United States (64%), New York (7%), Europe (7%)
Linked to: Metro-Goldwyn-Mayer, Columbia Records, HBO
Glenn Miller - The Big Broadcast of 1936 starred Bing Crosby, George Burns, Gracie Allen, Ethel Merman, Jack Oakie, and Bill "Bojangles" Robinson and featured other performances by Dorothy Dandridge and the Nicholas Brothers, who would appear with Miller again in two movies for Twentieth Century Fox in 1941 and 1942.
Alleged by one tabloid to have fornicated in the woods of Lake Tahoe with a white bandleader in 1950, she testified that racial segregation had confined her to her hotel during her nightclub engagement in the Nevada resort city
Dandridge won her first starring role in 1953, playing a teacher in a low-budget film with a nearly all-black cast, "Bright Road", released by Metro-Goldwyn-Mayer
Marilyn Horne - Horne's first major professional engagement was in 1954, when she dubbed the singing voice of Dorothy Dandridge in the film "Carmen Jones"
In 1958, soon after the French release of "Tamango", Dandridge lined up a co-starring role in Metro-Goldwyn-Mayer's off-beat thriller "The Decks Ran Red"
In 1959, Columbia Pictures cast Dandridge in the lead role of Bess in "Porgy and Bess"; Dandridge was again nominated for an award, this time for a Golden Globe award for Best Actress - Motion Picture Musical or Comedy, for her performance in "Porgy and Bess"
In 1999, Halle Berry took the lead role of Dandridge in the HBO Movie "Introducing Dorothy Dandridge", which she produced and for which she won an Emmy award, a Golden Globe award and a Screen Actors Guild award
Halle Berry - She served as executive producer on Introducing Dorothy Dandridge in 1999, and Lackawanna Blues in 2005.
Carmen Jones (film) - Looking back at the film in a 2007 review in "The Guardian", Andrew Pulver rated it three out of five stars and observed, "Underneath its obvious charms - slinky Dorothy Dandridge, brawny Harry Belafonte and a handful of memorable numbers relocated from Bizet's original - the 1954 film version of Oscar Hammerstein's all-black Broadway musical now feels like a relic from the gruesome social straitjacket that was segregation; every frame, you feel, is freighted with the tension imposed by the never-appearing white folks