🎦 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.
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DVD-rip 352x272 px 699 Mb mpeg4 1705 Kbps avi Download
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.
Geraldine and Wally sizzle!
Geraldine Farrar and Wallace Reid make for a sexy couple in this 1915 Cecil B. DeMille production of Carmen. Fast-paced, action-packed, and containing little of the overacting common of the earlier 1910s, this film is for those who think old movies were all creaky, dull affairs for a naive, prudish audience.

Though not as visually stunning as his production of The Cheat (1915), DeMille shows great skill behind the camera here. Though there are one or two moments of stagey set-ups, for the most part, this is cinematic through and through.

I know The Birth of a Nation (1915) is an important film and all, but honestly, DeMille's one-two punch of Carmen and The Cheat make for much more fun (and less morally repugnant) viewing.
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.
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.
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.
David Jeffers for SIFFblog.com
Sunday January 15, 4:00pm The Paramount Theater

By 1915 Geraldine Farrar had established herself as premier soprano of the opera world. With radio nearly a decade away, her phonograph records had found their way into millions of homes. These audible wonders of the modern age made Farrar immensely popular. Records could not convey the wonderful theatrics of her performance on the stage. She held a captive audience from La Scala to San Francisco and chose the moment of her greatest popularity to step in front of the camera. Farrar was drawn into this other new and equally exciting indulgence of motion pictures by one of the greatest popular directors of the day, Cecil B. DeMille. For two years she was the jewel in his crown, making six feature films for DeMille, five with her co-star Wallace Reid. Film work also allowed Farrar to rest her fragile voice after years of abuse. Her brilliance and intensity on stage was fully realized in these films, which made Farrar unique in both the worlds of opera and film. No other performer had ever approached this simultaneous degree of popularity and success. Legions of obsessed young fans even referred to themselves as "Gerry–flappers". Among the brightest stars in the universe of twentieth century entertainment, Farrar also became a great social leveler, horrifying the class conscious opera world by lowering herself to the level of common everyday moviegoers. In turn, the price of a ticket offered the illusion of entering the privileged world of Grand Opera. There are sadly only two of these six films known to survive today, they are however, likely the best, Carmen and Joan The Woman. They are also among the very best works of C. B. DeMille. Carmen is the story of a wild and beautiful gypsy girl from Seville. She seduces handsome young Don José, ruins him, betrays him, and in the passionate climax of the story he seeks his revenge. Few tales have gained such admiration and have been retold in film and on the stage as often. Carmen was the greatest role of Geraldine Farrar's illustrious career and the signature piece for which she was known around the world. She played the dark-haired cigarette girl of Prosper Mérimés' novella with ferocious intensity for decades. Signing this legendary star to a multi-picture contract with his greatest director Cecil B. Demille was quite a feather in the cap for Jesse Lasky. Wisely, DeMille insisted Farrar shoot another film, "Marie Rose" first, so she could acclimate to the film environment. The first picture was then held back until after Carmen was released. On screen Farrar displayed a magnetic and effortless, natural quality. Two scenes in particular are tremendously exciting, the first, a knockdown drag-out fight between Carmen and another girl in the cigarette factory was added to the original story for the film, the other is the spectacular finale at the bullring. The fight, with DeMille's future screenwriter Jeanie Macpherson, created such a sensation it has been included in most versions of the story ever since.
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!
"My love is mine, to give or deny"
The relationship between cinema and opera has always been a bit on-off, but occasionally has yielded some good things. Cecil B. De Mille was one of the first filmmakers to acknowledge the similarities between the two mediums, creating what was perhaps the first true opera film.

The casting of renowned opera star Geraldine Farrar was more than just a publicity stunt. Screen acting was still in development, but opera acting – which is similar in that plot and character must primarily revealed visually through gesture and presence – had been going for centuries. Farrar fits right in on the screen, giving a realistic performance with a touch of dynamic dramatics – the style that De Mille favoured and that was central to his silent era work.

Farrar apparently enjoyed the freedom of not being so constrained by the music, and being able to act in her own time. However, De Mille's Carmen is still very much an adaptation of Georges Bizet's opera, rather than Prosper Merimee's novel. It not only follows the opera's libretto more closely than it does the original text, certain key sequences do appear to have been staged to fit Bizet's music – in particular the final climactic scene. Funnily enough, when Raoul Walsh made his Carmen the same year, he deliberately based it on the novel, not the opera, as Fox could not afford the hefty fee for the rights to the libretto. Sadly Walsh's version, which he goes into some detail about in his autobiography, is lost.

In Carmen we can also see the De Mille style which made his silent films so watchable was really beginning to mature. One of the best things about his silent pictures is the sparseness of the intertitles. Not only are they used purely when necessary, De Mille also ensures they are spaced out we are never bombarded with them. Whereas many silent films might have a title when a character asks a question, followed a few seconds later by another title giving the response, with De Mille each title stands alone. If two characters are talking to each other, the majority of the conversation will be conveyed by gesture, expression and context. This means that the flow of each scene is not broken up. A good example is when Don Jose and Carmen are dancing in the tavern, Don Jose hears the bugler calling him back to his post, he is reluctant to go, but an officer persuades him. Whereas many other directors would have interrupted this sequence with two or three speech titles, De Mille credits the audience with the ability to be able to read the scene visually, which allows us to really watch the performances.

De Mille was also coming along in his handling of crowds scenes – the extras in the cigarette factory and the bullring look particularly naturalistic, although he perhaps needed a bit more practice and drawing the audience's eyes to the most important part of the frame. Another De Mille trademark makes an early appearance here too – the scene in which Carmen has her fortune read is shown with "Rembrandt lighting", that is with actors illuminated while that background is shrouded in darkness. This not only gives a moody atmosphere, it also isolates characters, really focusing us upon their performance.

Good as he was, De Mille was certainly also a rather pompous and pretentious figure, and it seems his contemporaries were already onto him. Charlie Chaplin's brilliant Burlesque on Carmen expertly skewers the seriousness of De Mille's vision (the parody is clearly based on this version, mimicking the sets, costumes and even some of the camera set ups). In his autobiography Walsh also talks about rushing out his version in order to upstage his rival (although he was a single day late). The self-important De Mille was probably more or less deserving of this derision, but he still made some great films. It is also interesting that De Mille, Walsh and Chaplin all took on Carmen at this time, as it was these three very different directors who would now take over from Griffith as being at the forefront of cinematic development.
Farrar unforgettable in arresting debut.
This short film is all Farrar, who gives a subtle performance as the doomed flirt in this, her first film. Ms. Farrar is no glamour girl - she is rather homely, very reminiscent of Anna Magnani, but manages to "act" sexy and alluring. She is the whole reason for viewing this film. It's surprising that she is so subtle an actress, given this was her first film and that she came from the operatic stage, known then for its emotional excesses in acting technique. The print on KINO is excellent and arrestingly tinted. Wallace Reid is attractive but not terribly memorable as Don Jose. View this for Farrar and for early DeMille.
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.
See Also
📹 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. 📀