Liebesnächte in Sevilla

A movie that far outdoes its meager reputation. It reunites Gilda's stars, Glenn Ford and Rita Hayworth, in a Spanish adventure based on the original novel Carmen, on which Bizet's opera is based. The story is extremely melodramatic, of course, but it's endlessly entertaining. Glenn Ford is pretty good as a nobleman who throws everything away for the love of his gypsy woman, Carmen. And Hayworth is as scorching as ever, even though her hair is brown. For those who love classic Hollywood opulence, this is definitely your movie. The film is in truly glorious Technicolor, some of the most beautiful cinematography of its era. The costumes, art direction, and music (none of it based on Bizet) are exceptional. The Loves of Carmen deserves better than it has gotten. 9/10.

...And at the zenith of her 'love goddess' period. This films is a literal (and completely non-musical) version of the Carmen story. When Rita dances in the film (and she does dance!)-- she is always hidden from the camera/audience--as a way of saying: love goddess at work--no frills necessary. Even so, she makes Carmen truly naughty--so much so that you wonder that she lives as long as she does. Carmen is a woman with more than the necessary number of tragic flaws. Rita makes her beautiful and vibrant--but tragic nevertheless.

The Loves of Carmen (1948) may not be my favorite take on this classic story nor is it among the cinematic greats, but it is nevertheless a fun romantic melodrama with tons of personality. The color photography is beautiful. The atmosphere is perfect. Glenn Ford is great as the obsessed Don Jose, a man torn between his integrity and his passions. The character could have easily been played stiff, but Ford gives him tragic dignity (plus he looks great in those tight pants).

But it seems everyone, love or hate this movie, agrees that Rita Hayworth as Carmen is the best asset on display. She is charismatic and sexy, sympathetic and infuriating. She brings the movie to a higher level and contributes much to its success.

Ah, too bad they don't make like these anymore! Beautiful, much-missed (by me!) old Technicolor helps to create both romantic, pristine 19th century Spain which never was and romantic, enchanting beauty of Carmen. She is gorgeous, entertaining and artificial with red hair (shouldn't it be dark?), red flowers and black mantilla. There is also sometimes delicious 1940's dialogue (by Helen Deutsch who also wrote great 1955 Cinderella movie Glass slipper). Carmen is a gypsy version of Scarlett O'Hara, rotten apple with no compassion to anyone - and she really likes to spit! - although it is easy to sympathize her desire not to give her heart to any of the supposedly innocent but actually brain-between-legs admirers around her. They offer shallow, "pure" love while being sex-obsessed, abusive boors: general hits his servant, Carmen's charms make every man to follow her like dog in heat, Carmen tells that wife-beating is rampant in village... Don't get me me wrong, Carmen needed good tongue-lashing, but good and evil are really blurring in this extremely well-made (thanks to virtues of old studio system!) melodrama.

There are times when RITA HAYWORTH, with her flashing eyes, heady mane of tresses and way with castanets and Spanish dances, amply fills the role of Carmen in THE LOVES OF CARMEN. She captures the flirtatious moods and stormy temperament without any trouble at all, and yet somehow every ravishing close-up reminds us that she has just been all glammed up by the make-up artist, every brush on her lips and hair and brows just given the royal Hollywood glamor treatment. Her glamor is so distracting that it renders her Carmen unrealistic, even though she certainly has the temperament to go with the part.

GLENN FORD is somber, stalwart and rugged enough as Don Jose but it doesn't seem like ideal casting. He looks uncomfortable in much of the early footage and only comes to life when he has killed a man and must spend the rest of the film on flight as a bandit and desperado in the rugged mountains. His performance strengthens and his love/hate relationship with Carmen is, for the most part, quite believable.

But some pseudo-Spanish music in the background score with a hint of Bizet would have been a wise approach to scoring the film. And giving Rita more than a couple of fiery dances would have been a smarter idea. As it is, her dancing moments are when she most completely captures the spirit of Carmen.

It's entertaining, in a lumbering sort of way--not exactly the most well paced version of the story. Hayworth is gorgeous to look at with a peaches and cream complexion that fairly glows in Technicolor, but all of her close-ups remind us that she is The Love Goddess being given the high gloss glamor treatment by the studio that made her a star.

But, reservations aside, for fans of Hayworth and Ford, this is a must see.