🎦 Carmen full movie HD download (Cecil B. DeMille) - Drama. 🎬
IMDB rating:
Cecil B. DeMille
Pedro de Cordoba as Escamillo
William Elmer as Morales
Anita King as Gypsy girl
Milton Brown as Garcia
Jeanie Macpherson as Gypsy girl
Wallace Reid as Don Jose
Storyline: The cigarette girl fights with another from the factory and is given to the custody of Don Jose who is smitten by her. In the city she falls for the bullfighter Escamillo. Jealous Don Jose stabs her outside the bullring.
Type Resolution File Size Codec Bitrate Format
DVD-rip 352x272 px 699 Mb mpeg4 1705 Kbps avi Download
Geraldine Farrar is superb in this breathtaking silent film directed by Cecil B. DeMille!
Cecil B. DeMille's "Carmen" is a breathtaking silent film. DeMille's outstanding talent as a director and producer shines in all of his films. Geraldine Farrar's spirited portrayal of Carmen is one of the best acting performances in the entire history of cinema. Alvin Wyckoff's cinematography is splendid, and William C. deMille's screenplay is very memorable. Wallace Reid and Pedro de Córdoba also give skilled performances, as does Jeanie Macpherson (DeMille's exclusive screenwriter) as Carmen's adversary. The on-screen fight between Farrar and Macpherson is also realistic.

Farrar's captivating performance and DeMille's expert direction make "Carmen" one of the best films ever made.
The Divine Farrar
This early screen version of the famous French tragic grand opera is worth viewing, if nothing else, for the grand performance and exquisite beauty of opera diva Geraldine Farrar. However this is a worthy piece of early cinema. The great DeMille was honing his craft and his innovativeness was evidently seen in the various techniques and tinting of certain scenes. These were very effective to create a certain ambience necessary to the story. I think all these elements peaked the following year with the great epic "Joan the Woman." I would still have to count this as the best screen version of the celebrated Merimee story. Through the years there have been various adaptations, one being 1954's "Carmen Jones", with Dorothy Dandridge. This was set with a contemporary black cast of the time. But to me there is no other Carmen but Farrar. The role, the whole story just seems tailor made for her. The fine 1997 score featuring Bizet's famous compositons were ideally synchronized to accompany the appropriate scenes. I highly recommend this film. Ms. Farrar is fabulous.
Bizet is bizarre!
As some of the other reviewers have said, Geraldine Farrar is quite extraordinary in this film. She is most evidently having the time of her life, freed from the shackles of the operatic stage and the tyranny of those conventions which demand conformity. Her instincts were obviously spontaneous, and her body language and facial expressions go far beyond what was expected in an operatic performance, in those days and even now. "You have killed me, but I am free!" You can sense this freedom in every frame of the movie. The restored film is beautiful, amazingly clear and vibrant, with the tinting adding greatly to the effect. The one thing I found jarring, however, was the music! Gillian Anderson (the conductor, not the actress) performed a labor of love in resuscitating Hugo Riesenfeld's original orchestral score, complete with vocal soloists, but for all that, frequently the music is at odds with the film, despite -- or perhaps because of -- being excerpted from Bizet's opera. There are too many episodes in the film that have no direct counterpart in the music, and I feel it would have been better to give a Carl Davis or his brilliant equivalent the freedom to write a totally new score, especially since the film is based on Merimee's novel rather than the opera libretto of Halevy. Until that happens, I'll prefer to watch the film without sound, but watch it I will!
Technically, this is an amazing film,...if seen and heard in all its glory
First I've gotta say that I was quite impressed by this silent film by DeMille. Unlike so many of his later epics, this film doesn't seem too huge and overly grand--something I dislike about many of DeMille's famous films. In other words, his films can seem very cold by over-emphasizing grandeur over acting. But, this film had amazing production values and yet seemed like a smaller and more accessible film.

Secondly, in an age of silent films, it was quite the audacious undertaking to produce a silent opera with the intention of having a huge orchestral accompaniment and even live singing. I assume that in this form, it must have been an amazing film to witness back in 1915. Unfortunately, in smaller venues, the film would probably only merit a 5 or 6--having only a piano or organ for accompaniment.

Fortunately for us in the 21st century, Video Artists International has produced an exceptional version of the film--with orchestral accompaniment, some operatic singing and a relatively clean print complete with original tinting!! It is in this light that I give this film a 9. It is amazing for a silent film and commands my respect--even if I am not a fan of opera.
short but sweet
An hour to tell the tale of Carmen the gypsy tease may not seem much, but this is a nicely succinct version with some very appealing tinting - blue for the smugglers, reds and pinks for Carmen. Geraldine Farrar is a little too much on the overacting side at stages, but she makes a passionate and fiery little Carmen who scratches and bites her way through life. Wallace Reid is a charming Don Jose, driven mad with love to the tragic conclusion. The video version I saw has some Farrar arias tacked on with stills from the film, and the whole is extremely affecting. Joan the Woman is better but this is still a fascinating little piece.
Geraldine Farrar Hits the Screen as Carmen
Geraldine Farrar (as Carmen) is a Gypsy involved with a gang of smugglers; to help them, she agrees to deflect Officer Wallace Reid (as Don Jose)'s attention with a seduction. Mr. Reid is so smitten with Ms. Farrar, he decides to pursue her; but Farrar only has eyes for bullfighter Pedro de Cordoba (as Escamillo)… Farrar, with a flower in her teeth, is unintentionally amusing (and not very convincing to modern eyes) as a seductress. Nonetheless, she was a big Metropolitan Opera star, and Bizet's "Carmen" proved to be a popular film debut. In fact, Motion Picture Magazine conducted an extensive poll to determine "Screen Masterpieces of Acting". and Farrar's "Carmen" was the best female performance of the year 1915; she outpolled not only Mae Marsh (in "Birth of a Nation") and Mary Pickford (in "Rags"), but also Theda Bara in a competing version of "Carmen".

A movie highlight is Farrar letting her hair down and cat-fighting with another woman in the cigarette factory where they work - and almost ripping the other woman's shirt off! Reid is a very handsome leading man, who doesn't overact throughout; making a scene where he nearly rapes Farrar more convincing. Mr. de Cordoba always uses his eyes to great advantage. Cecil B. DeMille shows improvement as a director - near the end, Farrar and de Cordoba play a nicely staged scene before the bullfight; though, Farrar ruins it by approaching the camera like she's going to take a bow. After the bullfight, Reid and Farrar take more "affective" bows.

****** Carmen (10/31/15) Cecil B. DeMille ~ Geraldine Farrar, Wallace Reid, Pedro de Cordoba, Horace B. Carpenter
Her most famous part without her most famous asset
The tragic tale of Carmen and Don Jose is the subject of one of Cecil B. DeMille's best received silent pictures. To hear DeMille tell it in his autobiography it was quite the casting coup to get Geraldine Farrar from the Metropolitan Opera to go and recreate her most famous part without her most famous asset being her voice.

In those teen years of the last century Geraldine Farrar was quite the popular figure, for women she was to grand opera what Caruso was for men. Even with no famous the grand gestures needed for interpreting a role are exactly what the silent screen called for. Her early records plus this film were a great marketing tool for her live concerts and opera performances. DeMille grasped intuitively how Farrar could be a success in films.

Playing Don Jose the guardsman she seduces and drives mad enough to kill and disgrace himself is Wallace Reid. And the man playing Escamillo the matador who as a baritone gets the most famous aria to sing when Carmen is an opera is Pedro DeCordoba.

You'll not hear a note of Bizet's famous score I guess because DeMille figured that the contemporary would expect sound if he used it. Instead a good score was written, the best part being a Spanish guitar as the only musical accompaniment in several key scenes.

Carmen stands up well for today's audiences. It's a universal story.
Carmen (1915)

** (out of 4)

Carmen (opera star Geraldine Farrar) pretends to be in love with soldier Don Jose (Wallace Reid) so that she and her gypsy pals can sneak smuggled goods in. When Don Jose sees that this is all a fraud love soon turns to outrage. Another early effort from Cecil B. DeMille is probably the weakest film I've seen from him. Like 1914's The Squaw Man, the story is actually pretty interesting but the director does nothing with it and in the end it comes off way too bland. The only major highlight is the performance from Farrar who does a remarkable job throughout the film. She's certainly no beauty but her sexual performance makes us understand why Don Jose would want her.
Ugh... Farrar
As Carmen pretends to be in love with Don Jose for pride and profit, Geraldine Farrar pretends to act for presumably similar reasons. Farrar is obnoxious. She parades, grins and gestures, positions herself constantly for the camera, even appears to glance at the camera occasionally, to wink or check for framing. She flaunts her eyes to and fro and pats her attire, or fondles her body, whenever she's not using her arms for needless and annoying gesticulation. Blame opera or DeMille's consistently inept direction of actors, but Farrar stands out in this movie, and compared to contemporaneous films, because she is excessively tactless.

As for DeMille's direction otherwise, it is unremarkable compared to "The Cheat" of the same year. Being trained in 1914, he obviously understood the rudiments of the art form by the time he made this "Carmen". He used low-key lighting in "the message of the cards" scene, and the tinting is nice, as others have mentioned. Nothing innovative. The story is worthless, although I was slightly amused by the tacit feminism. Perhaps, someday, I'll see if the 1954 version does better in promoting racial equality. If you watch DeMille's "Carmen", see Chaplin's burlesque on it--it'll makeup for lost time.
📹 Carmen full movie HD download 1915 - Pedro de Cordoba, Geraldine Farrar, Horace B. Carpenter, William Elmer, Anita King, Milton Brown, Jeanie Macpherson, Wallace Reid, Tex Driscoll - USA. 📀