Why so much hype?

Although it has its amusing moments, in eneral the plot does not convince.

I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

The first issue I had was James Mason. When I was young I thought he was a very good actor. And sometimes he was. Perhaps it was that wonderful voice. In recent years I've taken a second look at Mason's work, and I'd have to say his performances were rather uneven, and in my view his performance here was horrid. Maybe it was the director, or maybe it was the way Mason interpreted his character, but petulance did not fit here, and for much of the first half of the film, that's what Mason's character was -- petulant.The second issue was Dorothy Dandridge. I knew of her, but I'm not sure I ever saw her in another film. Perhaps. But, if this is an example of her at her best, then I'm not impressed. Although, she was remarkably beautiful.A third issue was Joan Collins. Now I enjoyed her in "Dynasty", but that doesn't mean I thought she was a good actress. She knew how to look seductive and sexy. But she didn't know how real people talk or behave, and it certainly shows here.A fourth issue was transitions from one setting/scene to another. Sometimes they seemed awkward, as if the scene wasn't really quite finished, even though it had ended.A fifth issue was the dialog. It was mostly okay, but occasionally it seemed to misfire. For example, the car has been sabotaged with the rotor taken out, and the response is, "It can't be a coincidence." Well, duh! And then there's Joan Fontaine's apparel. Just seemed a little too "white" in a film about interracial love affairs. Over done.So you might think I didn't like the film. Well, despite all the issues, overall I thought it was quite good. First of all, for 1957, interracial romance was a hot topic. This film took courage, particularly for Joan Fontaine.This was more an ensemble cast than a star vehicle. So, I enjoyed seeing Michael Rennie, an actor that I always felt was underestimated. John Justin was quite good. Stephen Boyd was sounding VERY British here, but he played the part nicely. Diana Wynyard, as the mother with a secret, has one exceptional scene when she finally tells her daughter a truth; this was her final film. John Williams always played a wonderful detective (as in "Dial M For Murder); a treat to see him in the same type of role here! I also enjoyed Ronald Squire.In case you think I forgot Harry Belafonte, no, I didn't forget. I just don't think of him as an actor.Despite some real issues, I liked the film. It has a strong plot, is lavishly produced with beautiful settings, and its theme is still very timely...amazing after nearly 60 years!

Because this movie was made at a time when there was still a Hays Code and that much of America was segregated, you won't get much passion out of the interracial teamings of either Dorothy Dandridge/John Justin (though there's some close embraces) nor Harry Belafonte/Joan Fontaine (he's too intense, she's too reserved). Also, the romance between Joan Collins and Stephan Boyd isn't much to write about either (though they do share a kiss). Anyway, this is mainly about James Mason's plantation character and his debates with Belafonte's labor leader character, his jealousy of his wife's (Patricia Owens) supposed affair with a counsel diplomat (Michael Rennie), and his and sister Collins' reaction to a family secret revealed from a reporter and confirmed by their parents (Diana Wynyard and Basil Sydney). Along the way, there's an officer (John Williams) cracking a murder case...With what I just mentioned, there should have been some fireworks but-other than some exciting close calls staged by director Robert Rossen-it's mostly dull with droning dialogue provided by Alfred Hayes as adapted from Alec Waugh's novel. Still, there are a couple of good songs written and performed by Belafonte and a nice dance by Dandridge and also a compelling confrontation between Mason and Belafonte at a speech rally. So on that note, Island in the Sun is at the least worth a look. P.S. The DVD has excellent commentary by historian John Stanley.

Disappointing film dealing with life in the Caribbean.The film might have fared better if it had been a musical. The movie marked the re-teaming of Harry Belafonte and the late Dorothy Dandridge from "Carmen Jones" fame 3 years before. Belafonte sings well at the beginning before this film evolves into too many plots, pregnancy, murder, racial tension, politics, etc. The subject matter is totally uneven and the film suffers as a result. Dandridge was never weaker before in any of her brief film career. She evokes little to no emotion and the luster of Carmen, 3 years before, is totally gone.There is entirely too much going on here. James Mason is caught up in a killing, running for political office, and facing the reality that he is partially black. Belafonte loves Joan Fontaine, of all people, but by the end can't marry her due to racial-political considerations on the island. Joan Collins loves Stephen Boyd, he is given so little to do here, but he will be in The House of Lords, so how can she marry him if their children might be black. (Collins and Mason are brother and sister in this Peyton Place circus-atmosphere.) To complicate matters still further, old timer Diana Wynyard, an Oscar nominee for 1933's "Cavalcade," appears in the film as the mother of Collins and Mason. She is effective in the part but the plot twists again when it is revealed that she had Collins from another man.Robert Rossen who directed this mess, did so much better years before with his winning "All the King's Men." That 1949 Oscar winner for best picture stuck with basically one theme. This one is all over the mull berry bush.

Harry76 hit the nail on the head when he stated the script was a dud. The political theme and plot are wimpy. The racial censors of the time really cut this movie down to nothing. Also, the casting without regard to age, made some scenes laughable; e.g., when a young Harry Belafonte referred to seeing Joan Fontaine's character, Mavis, when she was a little girl of 12. Joan could have played his grandmother's friend. Still the scenery was lovely, and it was nice seeing great actor's in their prime. Dorothy Dandridge (Carmen Jones), Michael Rennie(When the World Stood Still), James Mason (A Star is Born), and, of course, our own "Alexis", Joan Collins (Dynasty)---That was the best.