Rare Screening of Otto Preminger’s ‘Porgy and Bess’ Offers a Glimpse into a Lost Film

When Otto Preminger directed a screen adaptation of George Gershwin, DuBose Heyward, and Ira Gershwin’s 1935 opera “Porgy and Bess” in 1959, he assembled a remarkable cast including Dorothy Dandridge, Sidney Poitier, Sammy Davis Jr., and Pearl Bailey – a rare showcase of prominent Black performers at a time when such opportunities were limited in studio films. The film, a follow-up to Preminger’s 1954 film “Carmen Jones,” would prove to be his last for-hire assignment before embarking on a series of critically acclaimed auteurist works like “Anatomy of a Murder,” “Exodus,” and “Advise and Consent.”

For 67 years, the original 138-minute roadshow version of “Porgy and Bess” has been exceptionally tough to view. That will change, briefly, as Quentin Tarantino’s Vista Theatre in Los Angeles hosts a limited engagement of a rare 35mm, I.B. Technicolor, 4-Track Mag print from March 16-19, 2026. Given the film’s limited public screenings – only about half a dozen since producer Samuel Goldwyn lost the option in 1972 – and its never having been released on home video in North America, this represents a significant opportunity for film enthusiasts.

Samuel Goldwyn acquired the rights to “Porgy and Bess” in 1957, over two decades after the musical’s debut, facing challenges due to evolving cultural perspectives. The stage version had been criticized for perpetuating stereotypes, presenting characters that contrasted with the “positive” images Sidney Poitier championed in his career. The film encountered similar headwinds upon release during the burgeoning civil rights movement.

Despite these challenges, film critic Chris Fujiwara, author of “The World and Its Double: The Life and Work of Otto Preminger,” recognizes considerable artistic merit in the film. However, the production was reportedly fraught with tension. Preminger clashed with Dorothy Dandridge, his former lover and star of “Carmen Jones,” and with Sidney Poitier. Goldwyn was disheartened by the film’s critical and commercial reception, and Ira Gershwin reportedly disliked it, having outlived his brother George and co-author DuBose Heyward.

Ira Gershwin’s disapproval significantly hindered the film’s distribution. Goldwyn had only “rented” the rights for 15 years, requiring permission from Gershwin or his estate for subsequent screenings – permission that was often denied. According to reports, the Gershwin estate even attempted to acquire and destroy existing prints to prevent further showings.

Fortunately, a 35mm print was deposited at the Library of Congress in 1960 for copyright purposes and has since been digitized. The Library of Congress also added the film to its National Film Registry in 2011, ensuring its preservation.

For approximately 50 years, “Porgy and Bess” remained largely inaccessible – described as the “holy grail of unavailable films.” A screening was secured in 2007 by Preminger biographer Foster Hirsch, with a few subsequent showings in New York, Cleveland, and Washington, D.C. In 2019. The Vista Theatre engagement marks the first public screening since the 2019 American Film Institute event. The film also had a single airing on ABC in 1967.

“Porgy and Bess” will screen nightly at the Vista Theater from March 16-19, 2026.