🎦 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
Popular Culture
Having made the transition from stage to screen, Cecil B. DeMille maintained his theatrical influences in his approach to films throughout his career. 'Carmen' was an early example of this in the sense that he took a rising opera star, Geraldine Farrar, and adapted an opera onto the big screen. The film, however, only runs just over an hour, and it feels like you have just watched a pilot episode of a series. Although it may not be one of his classic films, it has however significant because it demonstrates how he wanted to take popular culture from the stage to the screen.
A Streamlined Adaptation with a Riveting Performance by Geraldine Farrar
CARMEN (1915) is Cecil B DeMille's adaptation of the famed opera, starring operatic legend Geraldine Farrar in the title role. Carmen is an independent minded, sultry Gyspy girl who agrees to seduce an idealistic army officer, Don José (Wallace Reid) in order to distract him from smuggling activity. José falls in love with Carmen and becomes part of a love triangle that leads to tragedy.

The script distills the essence of the opera into a movie that runs just shy of an hour, eliminating extraneous characters and focusing on the main plot threads. Carmen and Don José receive the most emphasis in this treatment. Geraldine Farrar had played this role on stage over 60 times before making the film. Farrar is truly mesmerizing, playing Carmen with abandon and verve. Her expressive performance and strikingly unusual beauty made it impossible for me to take my eyes off of her. She really embodies Carmen very well, teasing and tempting, then showing ferocious independence and an iron will. Although accustomed to the stage, where larger than life acting was the order of the day, Farrar successfully scaled her performance for the camera. It's a big performance, to be sure, but her work has its subtleties as well. Wallace Reid is also very believable as the once upright army officer whose love turns to obsession and leads to tragedy. Reid was one of the early superstars of American cinema, and he also proves very charismatic. There is undeniable and abundant chemistry between Farrar and Reid. Pedro de Cordoba also does fine work as Escamillo, a bullfighter who loves Carmen.

The work of the actors is in general quite well done, in line with the style of the time but not so much as to be laughable today. The cinematography is for the most part competent rather than brilliant, but there are touches of innovation here and there, like DeMille's fondness for chiaroscuro lighting. There is also some intriguing tinting during the scene in the bar where Carmen dances for José and his response arouses the jealousy of her real love, Escamillo. Close-ups are used sparingly, but effectively, particularly when it comes to Carmen.

Although lacking the grandeur (and, of course, the music) of the opera, CARMEN succeeds in presenting the main thrust of the story, and the main interest today rests on Geraldine Farrar's charismatic performance, as well as her chemistry with Wallace Reid. SCORE: 8/10.
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.
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!
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.
Shallow entertainment
Sex and violence seems to be what De Mille relies upon here for entertainment, in a drama filled with attractive Spanish settings and completely unattractive characters. Carmen is an outrageous flirt who comes within inches of kissing several men, and seems to be on the cusp of it every time she is on screen, which is often, and often running her hands over her body and flaunting her eyes about, all for the sake of profit. Elsewhere we get a nasty all female fight in which layers of clothing are shred and one woman looks in trouble of losing her top, followed by a sword fight and a bull fight.

Given the type of violence and nudity that are accepted on screen today, some might wonder what the fuss is about, and the answer is that it is tasteless. There is neither humour nor insight nor depth here - it is but an unashamed excuse for fancy costumes (is it a broom or a helmet?) and profit. Carmen's use of sex appeal to trick men into giving her what she wants could be an apt metaphor for the way she, and the film as a whole, uses her sex appeal to trick audiences into buying tickets for it - an audience watching a film about robbery, unaware that it is they who are being robbed.

Having said that De Mille shows some technical talent, featuring a larger variety of angles and shot sizes then you typically see during the period. If only he had a better story to use it on.
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.
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.
📹 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. 📀