A Burlesque on Carmen

"Carmen" the 1845 novella by Prosper Merimee and the Georges Bizet opera have been adapted on screen numerous times since 1913. The oldest existing film version is Cecil B. DeMille's October 1915 "Carmen."

"Carmen," set in 1830 Spain, dealt with smugglers who conscripted the female gypsy to persuade a high-moral young Army officer manning the city gates to allow the group in to sell their goods. Naturally, the officer succumbs to Carmen's sexy whiles and his slippery slide down the corrupt ladder begins.

The themes in Carmen was especially popular in the mid-1910's during the time DeMille directed his movie, which was nominated by the American Film Institute in its Top 100 Most Passionate Films Ever Made. A month after the DeMille effort, Raoul Walsh released his "Carmen" a month later with Theda Bara, a lost film.

In one of Charlie Chaplin's final films for Essanay Studios, the comedian produced "A Burlesque on Carmen" in December 1915, based on the DeMille movie. Edna Purviance starred as Carmen,.

Chaplin's contract had expired shortly with Essanay after he made his "Carmen" because the studio had failed to meet his higher salary demands. Once he left, the studio added discarded footage Chaplin had shot as well as it created a subplot with Ben Turpin, extending the 30-minute short. Furious about the inferior movie that came out, Chaplin unsuccessfully sued the studio, causing much bitterness between them. A recent restoration of what Chaplin's original intentions were produced a highly-praised comedy that is recognized as one of his more intelligent movies in his resume.

Charlie Chaplin's 13th Essanay film is loosely based on Georges Bizet's famous opera Carmen and stars Chaplin as Darn Hosiery, a Spanish Officer on watch at a popular smuggling point. Local barman Lillas Pastia (Jack Henderson) persuades an attractive gypsy girl, Carmen (Edna Purviance) to distract the guard while they smuggle their goods. Despite having no interest in the man Carmen uses her charms to distract Hosiery who ends up in a love quartet for the gypsy's heart.

Burlesque on Carmen is an above average Essanay picture and features some nice subtle comedy as well as the usual trips, kicks and pokes. It also features the first noticeably decent performance from Chaplin regular Edna Purviance.

Purviance who appeared in every one of Chaplin's Essanay films and went on to appear in over thirty with the comedian over an eight year period had up to now, in my opinion, merely been a background prop for Chaplin to move about and turn his attention to when necessary. Often, through no fault of her own she would play characters with names such as 'A Woman', 'Girl' or 'Maid' but here as Carmen, with a proper fleshed out character, she shines. She is saucy and flirty yet firm and strong headed and is at the forefront of the story. It's nice to see her finally come into her own.

What's also nice is for Chaplin to take the action away from his traditional locations such as a house or park and transplant the plot to Spain. This gives him the excuse to try different sets and costumes, many of which add to the humour. He has great fun with a rather bushy military moustache and finds humour in his Uniform. The imagined heat of the Spanish sun also gives Edna Purviance a chance to show her face (and body), often hidden under bonnets and shawls. This is the first instance where I actually noticed the lightness of her hair as it is so often hidden from view. As I mentioned at the top there is a fair bit of subtle humour here to go along with the more obvious attempts. I loved how Chaplin slyly stole a beer and the looks he gave his fellow officer when trying to get 'time alone' with Purviance were fantastic.

For me the biggest laugh came when Chaplin is annoyed at a man blowing a horn. He carefully positions himself behind the man, lifts up the back of his tunic, unsheathes his sword, sharpens it, raises it above his head and then kicks him up the arse before returning the sword to its sheath. I loved the misdirection and patience of the joke. Overall I laughed out loud around five or six times which puts it towards the top of the Essanay films in that respect.

The final few minutes are surprisingly dark, even for a comedian famed for his pathos. I was totally shocked by just how grim it was and was glad for the final reveal even if the relationship didn't make much sense.

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Although it is hard to follow the story of Carmen opera in this spoof (it is quite confusing), that is a very funny short from genius Charles Chaplin. Charlie does not play his tramp here, but a military called Darn Hosiery, a tramp-like version of Don José. There are numerous hilarious situations, making the fans not to miss the little tramp. Chaplin's slapstick is brilliant as usual. Just imagine comedian like Chaplin with military costumes, weapons, and making their gestures... It is as if the comedian were in an amusing park! The fencing (judo?!) scene is excellent! Intertitles make as laugh a lot too. Edna Purviance had one of her best performances in my opinion, as Carmen. Great end!

I saw the 1951 UK version of this. It was narrated by Peter Dellars of all people and be sounds like Pete Smith. This version is also based on the 4 reeler version which Chaplin sued to stop being screened (Essanay added two reels to Chaplin's original version after he left for another studio!

So because they added a dumb narration to an additional two reels that was added after the fact, it's hard to review.

On one hand I can't evaluate it because of the silly narration that keeps getting in the way. On the other hand if it wasn't there I would have likely shut this off.

Except for The Gold Rush, I've never like Chaplin much. I found him way to simplistic and at the same time too broad. I know he was huge back in the day, but I just don't "get" him. Maybe this movie being 113 years old tells us why.

Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

From his Essanay period after leaving Keystone, 'A Burlesque on Carmen' is not one of his very best but is one of his best early efforts and among the better short films of his. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay period is something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'A Burlesque on Carmen'.

The story is still flimsy and actually one of the most lightweight ones of the Essanay period, there are times where it struggles to sustain the short length, and could have had more variety.

On the other hand, 'A Burlesque on Carmen' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.

While not one of his most hilarious or touching, 'A Burlesque on Carmen' is still very funny with some clever, entertaining and well-timed slapstick and is one of his first to have substance and pathos after 'The Bank', 'The Night in the Show' and 'The Tramp'. It moves quickly and there is no dullness in sight. The ending is great fun.

Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality and substance of the role. The supporting cast acquit themselves well, particularly a charming Edna Purviance.

In summary, very good and one of the best from Chaplin's Essanay period. 8/10 Bethany Cox