![]() Elvis Mitchell Symbiopsychotaxiplasm: Take One, 1968 Belafonte’s character’s rejection by the world at large (implicitly and explicitly because of his race) is the load-bearing wall that keeps this fascinating structure intact over 60 years later. ![]() And his ire is completely understandable-it’s a fast-moving but contemplative crime drama that alights on race, class, and sexuality, and treated its star as the sexual cynosure the world knew him to be his presence as a down-on-his-luck jazz musician who has to turn to robbery (with a makeshift gang built around a bitter, misanthropic gangster played by Robert Ryan in a role that’s the ne plus ultra of his vitriolic, self-hating bottom feeders) is contrasted with the impact he makes walking into a room or even an elevator. ![]() The 1959 noir that should’ve made Harry Belafonte a movie star instead, its failure drove him away from the screen for over a decade. ![]()
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