Dorothy Dandridge photographed during the filming of Tamango (1958)

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Dorothy Dandridge photographed during the filming of Tamango (1958)

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Dorothy Dandridge attending a cocktail party in Paris, France during the shooting of the film, Tamango (1957)
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Dorothy Dandridge in a promotional photo for the film Tamango (1958).
Tamango: Black Consciousness Personified in Dorothy Dandridge By Theresa Brown
âTheyâll never make me a slave.â
It figures a 1950âs film about a slave revolt wouldnât...or couldnât be made by a Hollywood studio at that time. TCMâs beautiful Star of the Month, Dorothy Dandridge, is front and center in this drama. And she has something to say.
TAMANGO (â58) was produced in Europe and based on a story of the same name by Prosper MĂŠrimĂŠe. The film is a microcosm of the Black experience. Itâs amazing how this tale beginning in 1820 weaves its way into some current motifs of today. In films like GONE WITH THE WIND (â39), weâve already seen the slave experience once theyâre fully ensconced in America. This European production deals with the Middle Passage and touches on a third rail that Hollywood didnât have the courage to look at back then. Iâm now remembering NO WAY OUT (â50) and THE DEFIANT ONES (â58) dealing head on with racial issues and I stand corrected.
In TAMANGO, Dandridge is at the apex of two triangles: one with two men both attracted to her and the other with herself.
One arm of the âtriangleâ is blonde and burly Curd Jurgens. He plays the Captain of the slave ship whoâs on his 12th voyage and knows his way around the Seven Seas. Heâs as benign as a the captain of a 19th century slave ship can be. Heâs no Captain Bligh, but he knows the value of his human cargo and metes out harsh punishment as he sees fit.
The other arm of the triangle is the slave Tamango. Alex Cressan plays him (in his only film appearance). He is handsome (forgive me for being a visual person) and has a heroic screen presence. Tamango was a warrior and lion hunter in his village. He is not going down without a fight. The other slaves look to him for guidance, though they canât hold out against the intimidation and brutality of the Captain and his crew. He is a leader to be punished but, while being perversely admired for that leadership, conversely, the Captain does not want to damage his value on the trading block. Tamangoâs actions towards breaking free put everyone in danger. And then he sees Dorothy Dandridge.
Dandridgeâs character, AichĂŠ, is the Captainâs mistress. She has special privileges on the ship because of that. She can roam as she wishes, sleep in a comfy bed and eat better than the other slaves. See, the truth of the matter is she IS a slave, if she needs reminding; and sheâs reminded by the shipâs doctor. He serves as a bit of a conscience for the Captain, but he also wants Dandridge for himself:
âMaybe youâve got white blood in your veins. But youâre a slave, just like they are. You were sold, just like they were.â
Whatever the âperksâ are for being the Captainâs âprivate propertyâ, she is property. As much as she tries to ignore it, she begins to have the stirrings of something not quite right. It begins with her dealings with Tamango. Giving the rebellious man some water after his skirmish with authority, he puts an even finer point on her position on the ship:
âWhite manâs trash.â
Her comeback to him:
âWhat are you? A rusty rifle. A bag of glass beads. Thatâs all youâre worth. So donât put on airs with me.â
In spite of the scriptâs slightly anachronistic dialogue, TAMANGO shows the seeds of Black consciousness personified by Dandridge. On one hand, even if she mainly serves one purpose to the Captain, he does seem to care for her in spite of himself. Sheâs also witnessing first-hand the struggles of people trying to be free. Her people. We see a leader trying to get a disparate group of people to work together, but who quickly turn on him when the first attempt fails. They have to fight through their fear, to learn how to be a cohesive group against this oppressor. Tamango bides his time and waits for an opening.
Between the oppressor and the oppressed, it is AichĂŠ who has the stirrings of figuring out where she really belongs: go along to get along or literally, take a stand.
TAMANGO is directed by John Berry who also directed TENSION (â49) and HE RAN ALL THE WAY (â51). He got mangled in the juggernaut of the Hollywood Blacklist after directing a short documentary about the Hollywood Ten. He moved to France when he could no longer get work in Hollywood. When his exile ended, he went on to direct a few television shows and films, among them: CLAUDINE (â74), THIEVES (â77) and THE BAD NEWS BEARS GO TO JAPAN (â78).
Itâs so interesting Dandridge chooses this film to work on after coming off her recent characterizations in BRIGHT ROAD (â53) ~ squeaky clean school marm; CARMEN JONES (â54) ~ fiery...sassy; and ISLAND IN THE SUN (â57) ~ sophisticated. Appearing in TAMANGO might just give her a way to speak to her personal experience â supporting and speaking out FOR Civil Rights as an African-American woman in Hollywood as she tries to keep her feet in two worlds. I like everything the movie has to say and what Dorothy is saying by being in it.
Though her character was a slaveâthe mistress of the White ship captainâDorothy [Dandridge] believed she might be able to something with this lead role and the film's theme of Black revolt."-Donald Bogle