Sadly, Hollywood, once again, uses a very serious subject and makes a mockery of it with banal dialogue and overall superficiality. Instead of focusing on the painful abuse of one people by another, the director here presents a confusing plot involving no fewer than five separate couples and their romantic complications. Some of the cast, including Belafonte and Dandridge, are each included in more than one of these hookups.
Admittedly, I am not a fan of romantic drama, but I have seen soap operas of the same era that remained loyal to their serious subject matter without sacrificing the subject's gravity among a series of confusing, romantic entanglements. Regrettably, this film allows its very important political and social themes to suffocate under the heavy emphasis of frivolous relationships. One film that comes to mind is "Home Before Dark" (1958) in which director Mervyn Leroy never allows the important subject of mental illness to lose its impact beneath some very compelling portrayals of individual relationships. It helps to have two leads, Jean Simmons and Dan O'Herlihy, so strongly committed to their roles. I don't feel that many cast members here are emotionally invested in their roles.
Unfortunately, as is the case with the important topic, an otherwise capable cast is also wasted here. Even the likes of James Mason and Joan Fontaine cannot save this faulty production. Belafonte's one "moment in the sun" occurs during the public showdown with Mason, but it isn't enough, probably because of the otherwise lethargic dialogue.
Aside from a very nice theme song rendered by Belafonte, the cinematography by Freddie Young ("Dr. Zhivago", "Lawrence of Arabia". "Lust for Life", among many others) is exceptional. Having spent some time in Barbados, I especially appreciate the scenes of the spectacular, far less commercialized east coast of the island, most notably the finale. For me, the views of a much more lush and mountainous Grenada are very obvious, including the aerial shots of Grenada's capital, St. George's. Young was able to capture the best of both islands, and his photography is the film's greatest attribute.
Admittedly, I am not a fan of romantic drama, but I have seen soap operas of the same era that remained loyal to their serious subject matter without sacrificing the subject's gravity among a series of confusing, romantic entanglements. Regrettably, this film allows its very important political and social themes to suffocate under the heavy emphasis of frivolous relationships. One film that comes to mind is "Home Before Dark" (1958) in which director Mervyn Leroy never allows the important subject of mental illness to lose its impact beneath some very compelling portrayals of individual relationships. It helps to have two leads, Jean Simmons and Dan O'Herlihy, so strongly committed to their roles. I don't feel that many cast members here are emotionally invested in their roles.
Unfortunately, as is the case with the important topic, an otherwise capable cast is also wasted here. Even the likes of James Mason and Joan Fontaine cannot save this faulty production. Belafonte's one "moment in the sun" occurs during the public showdown with Mason, but it isn't enough, probably because of the otherwise lethargic dialogue.
Aside from a very nice theme song rendered by Belafonte, the cinematography by Freddie Young ("Dr. Zhivago", "Lawrence of Arabia". "Lust for Life", among many others) is exceptional. Having spent some time in Barbados, I especially appreciate the scenes of the spectacular, far less commercialized east coast of the island, most notably the finale. For me, the views of a much more lush and mountainous Grenada are very obvious, including the aerial shots of Grenada's capital, St. George's. Young was able to capture the best of both islands, and his photography is the film's greatest attribute.
