🎦 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 Silent Opera!
"Carmen" was in effect, a silent version of the famed opera, directed by Cecil B. De Mille and starring the legendary opera star Geraldine Farrar. It's actually a drama but with Ms. Farrar in the lead, the viewer was left to his/her own imagination in terms of the operatic version of the story.

Cafe owner Pastia (Horace B. Carpenter) is a smuggler of contraband working with a local tribe of gypsies. He tries to bribe a young army officer Don Jose (Wallace Reid) to allow him to bring the goods through a breach in the wall surrounding the settlement but fails.

At the gypsy camp, gypsy girl Carmen (Geraldine Farrar) offers to go to the town and "charm" Don Jose into complying. She takes a job in a local factory in order not to arouse suspicion as to her true intentions. She does manage to lure the love struck Don Jose away from the wall long enough to allow Pastia and his gang to bring in the smuggled goods.

At the factory, Carmen gets into a fight with another worker and is arrested by Morales (Billy Elmer). As she is being taken off to prison Don Jose, Morales and Carmen go to Pastia's cafe where a fight breaks out between Don Jose and Morales. Don Jose kills Morales thus becoming a fugitive himself. The gypsies take him to their camp where he meets Carmen who had also escaped to the camp. Don Jose professes his love to Carmen but she rejects him, having no further use for him.

Carmen decides to run off to Seville with toreador Escamillo (Pedro de Cordoba). Don Jose learns of this and follows them to Seville, confronts Carmen and.............................................

The petite Ms. Farrar having had extensive experience on the operatic stage, adapts to acting on the screen easily. This was her first film of a five year film career. She would appear in several other De Mille films during this period. Wallace Reid was a good ten years her junior but it doesn't show here. He was on the brink of becoming one Hollywood's first major stars. He too would work for De Mille again. His well documented personal problems cut short his career at the age of 32 in 1923.

Charlie Chaplin filmed "A Burlesque on Carmen" the following year in which he made fun of the classic drama/opera.
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.
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.
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.
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
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.
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.
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.
American Beauty
True blue Yankee soprano Geraldine Farrar was the first internationally adored entertainer, she reached more people as a film actress than she did singing at the Met, or indeed through her records. Over her career she made 14 films, recorded about 200 sides, and gave 671 performances in 29 operas. She recognised her voice wasn't up to the likes of Melba for instance, but she wanted primarily to be an actress – and when she put her mind to anything she got it, hence her personal motto through life: Farrar Fará (Farrar Will Do It). With endless confidence and a dynamism unusual in opera divas she made this Carmen for DeMille in 1915.

Story of fiery gypsy woman winning the heart of a soldier (cherub faced Wallace Reid) and using him ruthlessly to her and her people's own ends. Farrar wanted the part badly! The version I've just seen was a brilliant restoration production of a print from George Eastman House by VAI, complete with modern orchestral arrangements and perfect tints based on the original production notes and a Pre and Postlude chockful of background information (even with 3 original recordings from Farrar herself). The acting and production were good, sometimes surprisingly so for such an early film. Farrar piled on the drama for the camera, she portrayed a different emotion every 5 seconds to offset the lack of words – or lyrics! Her dress at the bullfight was something to look at, lovingly captured by DeMille and his film crew.

Maybe Joan The Woman was a better picture overall but Carmen is a wonderful little film, a curio as presented now but very easy to watch and at 75 minutes long with all the extras left me wanting more. Bravo!
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.
📹 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. 📀