Carmen

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.

"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." Famed opera singer Geraldine Farrar played the gypsy Carmen. Being a silent movie, however, her golden voice wasn't heard on screen. But in its premier and selected cities, Hugo Riesenfeld's original film score was played by an orchestra alongside the projected film.

"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.

Farrar, born and raised in Melrose, Massachusetts, became a world famous opera singer, starring in numerous higly-regarded operas. "Carmen" was her film debut, a performance drawing praise from a number of newspaper reviews. One critic wrote, "the beautiful and gifted star, to employ her talents in the attaining of success in the films is one of the greatest steps in advancing the dignity of the motion pictures."

Playing opposite Farrar was Wallace Reid, called "the screen's most perfect lover." Having a successful film career for five years before he appeared in this Lasky Feature Play Company feature, Reid went on to play opposite cinema's top leading silent film actresses. He passed away at the young age of 32 from an addiction of morphine caused from being stressed in the middle of a hectic movie production schedule.

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

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.

If anyone is ever looking for an introduction to opera - then they could do much, much worse than this abridged version of Bizet's "Carmen". Telling the story of the anonymous temptress (Geraldine Farrar) who helps her smuggling friends by seducing the erstwhile incorruptible "Don José" (Wallace Reid) so they can continue to ply their trade. Soon, the poor captain is ensnared in her trap and when he kills his brother to help her, finds himself in the soup, so to speak. Whilst the detail of the story is largely lost here, the gist remains and the performances from the truly world class soprano Farrar and from Reid do their job fine. The design of the production is also quite effective: it hasn't the static look of so many of these early stage-to-screen adaptations - especially around the torero scenes - and, of course, it has the wonderful score to underpin it. The inter-titles are sparing - we get most of the plot from their expressions and the music, and that largely works well too. It is a bit clunky at times, the big crowd scenes are a bit confusing but the cat-fight is quite fun and it offers enough of a soupçon of the original, quite visceral, story to make it well worth watching.