Ziegfeld Theatre
141 W. 54th Street,
New York,
NY
10019
141 W. 54th Street,
New York,
NY
10019
131 people
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Porgy and Bess (1959)
By BOSLEY CROWTHER
Published: June 25, 1959
THE mills of the gods have ground slowly but they have ground exceeding well in delivering at last a fine film version of the famous folk opera “Porgy and Bess.” Almost a quarter of a century after its initial performance on the stage (and seventeen years after the revival that really established it), this most haunting of American musical dramas has been transmitted on the screen in a way that does justice to its values and almost compensates for the long wait.
For this we can thank Samuel Goldwyn, who was finally able to convince the solemn guardians of this sacred theatre treasure that he was the man most competent to bring it to the screen. And we can also thank his corps of artists, who have so beautifully and tastefully evolved George Gershwin’s musical translation of DuBose and Dorothy Heyward’s play that we can almost feel the motion picture medium is the one for which it was destined all the time.
The great values in this lyric drama of the Negro residents of Catfish Row, an old slum quarter in Charleston, S. C., are colorfulness, vitality and the eloquence in the music that expresses its characters' joys and sorrows. These are the essential values that are handsomely and throbbingly put forth in this film, which opened last night at the Warner Theatre for a road-show run.
Considering the obvious essentials of colorfulness and vitality first, it is notable that Mr. Goldwyn has given this picture the strongest benefits of color photography and wide screen. The panel suffused with the action and the pungent atmosphere of the teeming quarters in old Charleston is the wide one of Todd-AO, a system that is almost as expansive and pictorially pervasive as that of Cinerama, which recently occupied this theatre’s screen. And the whole mise en scène of the production, designed by Oliver Smith, has a richness and subtlety of color that are a powerful dynamic in this “Porgy and Bess.”
But more than the physical aspects of it, and the general fitness of the Irene Sharaff costumes, is the full flow of life and human feelings that is made to rush through this film. N. Richard Nash has adapted and Otto Preminger has directed a script that fairly bursts with continuous melodrama and the pregnant pressure of human emotions at absolute peaks.
From the moment crap-shooting Robbins is leaped on by bull-tempered Crown and beaten to death at the outset, there is violence or the threat of violence in Catfish Row and on that off shore picnic island to which its residents briefly go. Evil, like that dark, portentous buzzard, hovers in the air. If it isn’t Crown who is the spoiler, with his lust and rapaciousness toward Bess, it is Sport-in' Life with his “happy dust” and his persistence in stirring up strife.
These are the threads of vital conflict that have been pulled tight in the script and have been made to vibrate like humming harp strings all the way through the film. Always the pitiful groping of crippled Porgy for Bess and her fitful and frightened reaching for a futile relationship with him are constrained and imperiled by the presence of these evils in their midst. Mr. Preminger, with close and taut direction, keeps you keyed up for disaster all the time.
To this structure of pictorial color and dramatic vitality, there is added a musical expression that is possibly the best this fine folk opera has ever had. Under André Previn’s direction, the score is magnificently played and sung, with some of the most beautiful communication coming from the choral group. Surpassing, indeed, is the whole sequence of events in the hurricane, with the storm that rages on the giant screen accompanied appropriately by massive orchestral and vocal expressions of agony and defiance.
The duets and solos are likewise powerful, for all their familiarity and despite the fact that, in four of the key roles, the singing voices have been dubbed. Sidney Poitier’s performance of Porgy is as sensitive and strong as one could wish, but so is the voice of Robert McFerrin doing his musical chores. So, too, Adele Addison’s singing for Dorothy Dandridge, who plays Bess, enhances a characterization that could be improved upon.
But Sammy Davis Jr. does his own singing as the mischievous Sportin' Life and in every respect he is the sharpest and most insinuating figure in the show. His is the complete expression of the creeping corruption that imperils this little cluster of innocent people. There’s nothing funny about him. He’s sly and bad.
Pearl Bailey’s billowing Maria, the cook-shop woman, is, conversely, a pillar of strength and delivers some vocal eloquencies with Miss Bailey’s fine and throaty voice. Brock Peters as Crown is thunderingly powerful, dramatically and vocally, and Diahann Carroll beautifully plays the young mother whose haunting “Summer-time” Loulie Jean Norman sings. Ruth Attaway as Serena (with Inez Matthews' singing voice) and Clarence Muse as Peter, the aged “honey man,” are excellent, too.
To be sure, there are some flaws in this production. Miss Dandridge is too sinuous and sleek and got up to look too much like Kiki to give a fully satisfying portrayal of Bess. A couple of duets are somewhat static. And the climatic incident in the plotâ€"the desertion of Bessâ€"has been covered in a much too mildly allusive scene.
But, for the most part, this is a stunning, exciting and moving film, packed with human emotions and cheerful and mournful melodies. It bids fair to be as much a classic on the screen as it is on the stage.
The Cast
PORGY AND BESS, screen play by N. Richard Nash; based on the folk opera with libretto by DuBose Heyward, lyrics by Mr. Heyward and Ira Gershwin, which was derived from the play “Porgy” by DuBose and Dorothy Heyward; music by George Gershwin; directed by Otto Preminger; produced by Samuel Goldwyn; distributed by Columbia Pictures. At the Warner Theatre. Broadway and Forty-seventh street. Running time: 146 minutes, plus an intermission.
Porgy … . . Sidney poitier
Bess … . . Dorothy Dandridge
Sportin' Life … . . Sammy Davis Jr.
Maria … . . Pearl Bailey
Crown … . . Brock Peters
Jake … . . Leslie Scott
Clara … . . Diahann Carroll
Serena … . . Ruth Attaway
Peter … . . Clarence Muse
Annie … . . Everdinne Wilson
Robbins … . . Joel Fluellen
Mingo … . . Earl Jackson
Nelson … . . Moses La Marr
Lily … . . Margaret Hairston
Jim … . . Ivan Dixon
Scipio … . . Antoine Durousseau
Strawberry Woman … . . Helen Thigpen
Here’s Robert Osborne’s Hollywood Reporter article about “Porgy and Bess”:
NEW YORK — It was a much-touted, much-seen and in some quarters much-admired motion picture in its time, with four Oscar nominations (and one win) to its credit and a cast filled with talented people who, if not yet icons, certainly became so in the years after: Sidney Poitier, Dorothy Dandridge, Pearl Bailey, Sammy Davis Jr. and Diahann Carroll. We’re talking Samuel Goldwyn’s mammoth 1959 musical “Porgy and Bess,” a film that has not — except in a few rare instances — rolled through a projector in decades but will again Sept. 26-27 at the Ziegfeld in Manhattan amid much hoopla, all in conjunction with the publication of an extensive new biography on the film’s director titled “Otto Preminger: The Man Who Would Be King,” written by Foster Hirsch, published by Knopf and headed for bookstores Oct. 21. … There are reasons the film version of George Gershwin’s famed folk opera has been unseen for the past 40-plus years. After a complicated birth (its original director, Rouben Mamoulian, was fired during production, with Preminger taking over; there also was a mysterious fire that destroyed much of the set and delayed production), the finished film drew some negative criticism for its “unrealistic, soundstage look,” while there also was strong opposition from several civil rights groups that felt “Porgy” in any form gave a slanted, unfavorable view of black American life. (The original stage version was similarly roasted when it premiered in 1935.) The movie opened as a roadshow attraction at New York’s Warner Theatre, with the New York Times' Bosley Crowther hailing it as “a stunning, exciting and moving film, packed with human emotions and cheerful and mournful melodies (that) bids to be as much a classic on the screen as it is on the stage.” Others disagreed, stunning Goldwyn. The movie ran 30 weeks at the Warner, then played dates around the U.S., but thereafter, except for a few TV airings in the 1970s, it virtually disappeared. Goldwyn’s rights expired after 15 years; despite attempts to renew them, the Gershwin estate turned a deaf ear, and “Porgy” has been sitting in a vault ever since. (It also was said that Poitier and others preferred that it disappear.) At the moment, whatever kept this movie under wraps seems to have if not evaporated at least mellowed, and one holds a hope that, if there’s not a theatrical reissue in the future, at least a DVD edition might be forthcoming. As Hirsch says in his Preminger book, “Whatever their objections, the estate has a moral responsibility to ensure that viewers have the opportunity to come to their own conclusions about this still contested work.” At least this two-day theatrical screening is a step in the right direction. It’s a particular gift for those who’ve always been eager to get a look at this piece of film ghostory, not only those in the black community but also curious historians and eager cinemaniacs who are devotees of Gershwin, Preminger, Poitier and Dandridge, all of who have been the subjects of an interest that’s grown a great deal since the film was launched 48 years ago. … That Sept. 26 date is a significant one for another reason: It’s Gershwin’s birthday, his 109th. “Porgy” is also the last film made by Goldwyn, whose career in film dated back to 1913.
Back to “Porgy and Bess,” a few years ago a pristine 35mm 4-track mag print was run at a university screening in Brooklyn for one or two performances only, then moved to the Berlin Film Festival. I haven’t heard of a 70mm print of this classic being shown in decades.
I would doubt 70mm, Bill. If they struck a new 70mm print of this, they would certainly not let it be run on a platter.
“Porgy and Bess” was in Todd-AO. I wonder if the Ziegfeld will be showing it in 70mm. I must investigate this … I’ve only seen it on TV, and that was about 40 years ago.
With the exception of National Amusements (Showcase) you will find that very few cinema operators own their buildings. One of Cineplex Odeon’s questionable practices was to sell off those they did own and report the sale as “income” during bad years and not letting stockholders know that this new income was the result of a permanent asset loss.
It was the lack of Ziegfeld ownership that kept Garth Drabinsky from twinning the place.
Wow I have always wanted to see “Porgy & Bess” in a theatre. I remember when WPIX channel 11 used to run it in the late 60’s or early 70’s.
From today’s Hollywood Reporter:
“NEW YORK — It was a much-touted, much-seen and in some quarters much-admired motion picture in its time, with four Oscar nominations (and one win) to its credit and a cast filled with talented people who, if not yet icons, certainly became so in the years after: Sidney Poitier, Dorothy Dandridge, Pearl Bailey, Sammy Davis Jr. and Diahann Carroll. We’re talking Samuel Goldwyn’s mammoth 1959 musical "Porgy and Bess,” a film that has not — except in a few rare instances — rolled through a projector in decades but will again Sept. 26-27 at the Ziegfeld in Manhattan…"
how are the people they have working in the box office nowadays?
Thanks for “clearview-ing” that up.
Thanks for clearing that up.
Justin: I don’t think there are any rocking chair seats in the Ziegfeld. If there are, they must be in the upstairs section, where I never sit (too far away from the screen).
In what year did Cineplex Odeon took over the theater and when did it sell it to Clearview? Also, are all the seats in the theater rocking chairs?
Once again Warren has served up some tasty bits of information for us. Where would we be without folks like Warren and Michael Coate to keep us informed and enlightened. Thanks too for the valuable contributions made by REndres over on the RCMH page.
You couldn’t really say that Pacific “likes to spend money on putting on classic shows…” Pacifiic’s management is not excactly into that kind of thing as a rule. The only one related to Pacific who has a clue about showmanship is John Sittig, who oversees special Cinerama events.
Regarding my request for photos of the Ziegfeld or other good NYC theatres, the correct email address is
Thanks, Howard
William, I hope you’ve seen that your very much appreciated architectural & design info has been incorporated into the text at the Ziegfeld description. Again, good research!
At least Pacific Theatres likes to spend money on putting on classic shows with 70MM prints, not like the Clearview operations. Having working the Dome in the past, I enjoy the Dome more than the Ziegfeld.
Well, I partially agree with Roadshow. As much as I love the Dome, the fact of the matter is that recent presentations have been lackluster (for example Spiderman 3). But when they screen a classic, it is done with absolute professionalism. I’ve seen “Ben-Hur”, “West Side Story” in 70 MM there, “How the West Was Won” in 3-strip Cinerama, and you can’t get any better than that. These days anyway. With regular fare, however, it seems to me that you’re left to your doom!
JSA
Will anyone who has photos of the Ziegfeld please contact if they’re interested in being part of an online feature on the Ziegfeld?
By the way, ArcLight is not all that well run. There is a curtain in the Dome but they have no idea how to use it. It always opens and closes on a blank screen, and at the Midnight preview screening of HAIRSPRAY they didn’t bother with it at all. It was open already. I would trade the Dome for the Ziegfeld anytime, because the Ziegfeld folks at least seem to make an effort. HAIRSPRAY was not booked into the Dome, and they didn’t bother to mention the midnight screening in their newsletter or their front web page.
It should be Ridley Scott’s NEW “FINAL CUT” version, which has some new footage and updated special effects and sound.
Do we know which version of Blade Runner is getting a new print for its week at the Ziegfeld? I prefer the 1982 with the narration, but the 1992 has merit, too. (“What’s a tortoise?” Gotta love it.)
On by the way Sony has “Close Encounter…” set for release on Blu-ray on Nov. 13th.. It is to include all three versions of the film.
The NEW DVD versions of “Blade Runner” have a street date of December 18th, 2007. Warner plans to release what will be called “Blade Runner: Ultimate Edition” in HD-DVD, Blu-ray and Standard def DVD on that date. The 5 disc edition will include the new “FINAL CUT” version, the 1992 “DIRECTOR’S CUT” version, the 1982 “Domestic Theatrical” version , “Un-Rated International” version and the “WORKPRINT” version. Plus out-takes and mountains of bonus features to round out the set. No price has been set yet.
Justin2, according to what I read it will open not only in NYC, but in LA, before heading to blu-ray, hd-dvd, and regular dvd.