There’s something contradictory in the notion of an Otto Preminger musical: his admirable rational/realist sensibility doesn’t settle too well with the whims of the genre. But there are some fine Preminger moments in the midst of this 1954 film, an all-black pop version of Carmen—fine, that is, if you take the trouble to separate them from the clumsy segregationist context. Impeccably liberal in its time, the film has not aged gracefully, although Dorothy Dandridge’s performance in the lead remains a testimony to a Black cinema that might have been.