This movie passed 3 of 3 tests. It was entered by ShawmK on 2019-03-25 09:20:43.
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ShawmK said:
An epic, CinemaScope film with a large ensemble cast, including five major female characters.
Three of the women talk with each other at length, often (but not always) about men. In particular, Diana Wynwyard and Joan Collins (mother and daughter) have an important conversation about race: Joan Collins' paternal grandmother was apparently a black woman, meaning Joan Collins is not "white" enough to marry a future-member of the House of Lords - with whom she is already pregnant (this was pretty edgy stuff in 1957). Her mother solves her dilemma by revealing that her father is not actually her father (it gets edgier and edgier). Apparently, being illegitimate is better than being part-black if you are hoping to marry into a British peerage.
Although the conversation indirectly concerns men (obviously) they are talking more about her pregnancy and her race - and her mother's behaviour twenty years earlier.
They also talk with Patricia Owens (who is married to Joan Collins' brother) in a few scenes, but most of those conversations involve her husband (James Mason).
Elsewhere, Joan Collins and Joan Fontaine have a brief conversation about unloading the car. Joan Fontaine has a major role in the film, but spends most of it canoodling with Harry Belafonte - something that resulted in a deluge of hate-mail from certain quarters of American society.
Dorothy Dandridge (the other female character in the film) never interacts with any other women; all of her scenes are with men.
![[[3]]](/static/pass.png "[There are two or more women in this movie and they talk to each other about something other than a man]")
Island in the Sun (1957)
![[imdb]](/static/imdb.png)
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Three of the women talk with each other at length, often (but not always) about men. In particular, Diana Wynwyard and Joan Collins (mother and daughter) have an important conversation about race: Joan Collins' paternal grandmother was apparently a black woman, meaning Joan Collins is not "white" enough to marry a future-member of the House of Lords - with whom she is already pregnant (this was pretty edgy stuff in 1957). Her mother solves her dilemma by revealing that her father is not actually her father (it gets edgier and edgier). Apparently, being illegitimate is better than being part-black if you are hoping to marry into a British peerage.
Although the conversation indirectly concerns men (obviously) they are talking more about her pregnancy and her race - and her mother's behaviour twenty years earlier.
They also talk with Patricia Owens (who is married to Joan Collins' brother) in a few scenes, but most of those conversations involve her husband (James Mason).
Elsewhere, Joan Collins and Joan Fontaine have a brief conversation about unloading the car. Joan Fontaine has a major role in the film, but spends most of it canoodling with Harry Belafonte - something that resulted in a deluge of hate-mail from certain quarters of American society.
Dorothy Dandridge (the other female character in the film) never interacts with any other women; all of her scenes are with men.