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Use","https://www.ucla.edu/terms-of-use",{"event":212,"associatedSeries":247,"eventSeries":50,"pastEvents":267,"upcomingEvents":268,"exhibition":50},{"id":213,"uri":214,"sectionHandle":215,"title":216,"eventLocation":217,"image":221,"to":214,"slug":233,"libcalId":234,"publicUrl":235,"startDateWithTime":236,"endDateWithTime":237,"eventType":238,"eventDescription":242,"associatedLocations":243,"requiresRegistration":50,"libcalRegistrationOpened":50,"libcalRegistrationClosed":50,"libcalPhysicalSeats":50,"libcalPhysicalSeatsTaken":50,"libcalOnlineSeats":50,"libcalOnlineSeatsTaken":50,"libcalWaitlist":50,"onlineProvider":50,"onlineJoinURL":50,"eventTags":244,"presenter":245,"moreInformation":50,"eventOwner":246,"locations":243},"10888597","visit/events-exhibitions/tamango-tarzans-peril-12-19-26","event","Tamango / Tarzan's Peril",[218],{"title":219,"to":220},"Billy Wilder Theater","https://cinema.ucla.edu/billy-wilder-theater",[222],{"image":223},[224],{"id":225,"src":226,"height":227,"width":228,"srcset":229,"alt":230,"focalPoint":231},"10876320","https://static.library.ucla.edu/craftassetsprod/FTVA/_fullscreen/tamango-fromweb.jpg",1440,2560,"https://static.library.ucla.edu/craftassetsprod/FTVA/_375xAUTO_crop_center-center_none/tamango-fromweb.jpg 375w, https://static.library.ucla.edu/craftassetsprod/FTVA/_960xAUTO_crop_center-center_none/tamango-fromweb.jpg 960w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1280xAUTO_crop_center-center_none/tamango-fromweb.jpg 1280w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1920xAUTO_crop_center-center_none/tamango-fromweb.jpg 1920w, https://static.library.ucla.edu/craftassetsprod/FTVA/_2560xAUTO_crop_center-center_none/tamango-fromweb.jpg 2560w","A man and woman looking at each other on a ship. The man is enslaved in shackles.",[232,232],0.5,"tamango-tarzans-peril-12-19-26","17588501","https://calendar.library.ucla.edu/event/17588501","2026-12-19T19:30","2026-12-19T22:30",[239],{"id":240,"title":241},"156366","Screening","\u003Cp>\u003Ca href=\"https://cinema.ucla.edu/events/\" target=\"_blank\" rel=\"noreferrer noopener\">Visit the UCLA Film & Television Archive website\u003C/a> to learn more about upcoming screenings and events.\u003C/p>\n\n\u003Cp>\u003Cstrong>Free admission. No advance reservations. Your seat will be assigned to you when you pick up your ticket at the box office. Seats are assigned on a first come, first served basis. The box office opens one hour before the event.\u003C/strong>\u003C/p>\n\n\u003Cp> \u003C/p>\n\n\u003Cp>Screening 1 of 2\u003C/p>\n\n\u003Ch3>Tamango\u003C/h3>\n\n\u003Cp>\u003Cstrong>Year:\u003C/strong> 1958\n\u003Cstrong>Country: \u003C/strong>France / Italy\n\u003Cstrong>Language:\u003C/strong> English\n\u003Cstrong>Runtime:\u003C/strong> 104 min.\nDCP. Color.\u003C/p>\n\n\u003Cp dir=\"ltr\">Dutch sea captain Reiker (Curd Jürgens) embarks on what he intends to be his last slave-ship voyage along with his enslaved mistress Aiché (Dorothy Dandridge). One captured man, Tamango (Alex Cressan), plans a revolt. He tries to persuade Aiché to join him and the other rebels. Dandridge had refused many roles portraying enslaved people, but was attracted to this story of a shipboard rebellion. This French co-production filmed on the Côte d’Azur with star Dandridge staying at the glamorous Hotel du Cap-Eden-Roc for the majority of the shoot.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: John Berry. Screenwriters: John Berry, Lee Gold, Tamara Hovey, Georges Neveux. With: Dorothy Dandridge, Curd Jürgens, Jean Servais.\u003C/p>\n\n\u003Cp> \u003C/p>\n\n\u003Cp>Screening 2 of 2\u003C/p>\n\n\u003Ch3>Tarzan’s Peril\u003C/h3>\n\n\u003Cp>\u003Cstrong>Year:\u003C/strong> 1951\n\u003Cstrong>Country: \u003C/strong>U.S.\n\u003Cstrong>Language:\u003C/strong> English\n\u003Cstrong>Runtime:\u003C/strong> 78 min.\n16mm. B&W.\u003C/p>\n\n\u003Cp dir=\"ltr\">Dorothy Dandridge is the clear highlight here as Queen Melmendi of the Ashuba. She is luminescent, chic and sensual, and began to become a popular sex symbol a few years before \u003Cem>Carmen Jones \u003C/em>(1954). The plot involves Tarzan (Lex Barker) thwarting the plan of escaped criminal Radijeck (George Macready) to run guns in Africa on behalf of an unnamed power. But like all Tarzan films, it is a glimpse at Hollywood’s ever-shifting fascination with Africa.\u003C/p>\n\n\u003Cp dir=\"ltr\">Director: Byron Haskin. Screenwriters: Samuel Newman, Francis Swann, John Cousins. With: Lex Barker, Virginia Huston, Dorothy Dandridge.\u003C/p>",[],[],"Presented by the UCLA Film & Television Archive","Suzy Lee",[248],{"title":249,"sectionHandle":250,"workshopOrEventSeriesType":251,"text":252,"image":253,"to":263,"startDate":264,"endDate":265,"ongoing":266},"Dorothy Dandridge","workshopOrEventSeries","visit/events-exhibitions","\u003Cp dir=\"ltr\">The story of Dorothy Dandridge’s career mirrors that of early 20th century Black Hollywood. She first arrived in Los Angeles with her family in the 1930s, during the Great Depression. Dorothy’s mother, Ruby, found work in radio and in small film parts, usually playing domestics. Dorothy and her sister Vivian transformed their Chitlin’ Circuit acrobatic act The Wonder Children into a singing group called The Dandridge Sisters, who were popular in nightclubs like The Cotton Club. The Dandridge family lived in the thriving Black Hollywood area around Central Street in South Los Angeles, connected to the rest of the city by streetcars known as Red Cars. In the 1940s, Dorothy lived in that same neighborhood with her husband, Harold Nicholas of the Nicholas Brothers. Dandridge later moved to a beautiful modern home in the Hollywood Hills before that area was fully integrated. She was always a pioneer, doing things first and refusing to accept the discrimination she saw around her. After she became the first Black woman to be nominated for the Best Actress Oscar for Otto Preminger’s \u003Cem>Carmen Jones\u003C/em> (1954), she turned down countless supporting roles or what she considered to be stereotypes. Dandridge instead chose to make European and independent films, many of which will screen on prints in this series. She wasn’t so much ahead of her time, as an uncompromising bright talent who refused to bend to a flawed and racist industry. Hollywood today is still catching up to her. \u003C/p>\n\u003Cp dir=\"ltr\">\u003Cem>Series programmed and notes written by Miriam Bale. \u003C/em>\u003C/p>\n\u003Cp>\u003Cbr />\u003C/p>",[254],{"image":255},[256],{"id":257,"src":258,"height":259,"width":228,"srcset":260,"alt":261,"focalPoint":262},"10827836","https://static.library.ucla.edu/craftassetsprod/FTVA/_fullscreen/carmenjones1954-fsct03.jpg",1532,"https://static.library.ucla.edu/craftassetsprod/FTVA/_375xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 375w, https://static.library.ucla.edu/craftassetsprod/FTVA/_960xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 960w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1280xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 1280w, https://static.library.ucla.edu/craftassetsprod/FTVA/_1920xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 1920w, https://static.library.ucla.edu/craftassetsprod/FTVA/_2560xAUTO_crop_center-center_none/carmenjones1954-fsct03.jpg 2560w","dorothy dandridge standing next to a movie poster for carmen jones",[232,232],"visit/events-exhibitions/dorothy-dandridge","2026-12-02T00:00","2026-12-20T00:00",false,[],[],1789589200984]