Carmen

In Carmen, Saura once again seeks to establish a dynamic rapport between reality and fiction, between the actual passions of the personalities in a dance company preparing the choreography for the dance portions of the opera Carmen and the scripted passions from the story of the fictional Carmen, the famous fatal mix of a free spirit (read disregard for fidelity) and her ability to drive men mad with desire. Saura used this same vehicle fiction/reality in an earlier black-and-white film, Bodes de Sangre (Blood Wedding). But, whereas the tensions between the dancers rehearsing Blood Wedding showed to advantage how they evolved into the fictional characters of the story to be performed through directing their emotions into their roles, in Carmen, the parallel between the petty, libidinal urges of the dancers of the troop during rehearsals and the spirit forging to do with the mythic Carmen never comes even close to being believable. It remains a gadget, and, for that reason, a bothersome distraction. One really needs to see Blood Wedding next to Carmen to appreciate the comparison. However, it hardly matters, the melodrama Saura tries to impose upon his Carmen, because the Flamenco dancing and guitar music of the rehearsals_ which are 95% of the film _by some of the best known Flamenco dancers and musicians, more than repays the price of entry. A flawed film, and a wonder: perfect for doing a drill in Keats's 'negative capacity', perhaps?

Passionate, dramatic, riveting as Flamenco itself, the film is simply amazing. It is set on the immortal Bizet's music. The original music is written and performed by one of the greatest classical guitarists, leading proponent of the Modern Flamenco style, Paco de Lucia who plays a musician with the same name. Legendary Flamenco dancer and choreographer Antonio Gades co/wrote the script and choreographed this fabulous version of the celebrated Georges Bizet/Prosper Mérimée novella/opera. He plays a main character Antonio, the famous dancer/choreographer who works on retelling the story of Carmen in the Flamenco style that combines dances with singing and rhythmic hand clapping and has a highly charged level of dynamics that appeals enormously to the viewers.

Brilliant and graceful Cristina Hoyos whose technical excellence matches the elegant artistry of her dancing shines in the supporting role. Hoyos had been the first dancer in Gades' company for twenty years (1968-1988) and she was the protagonist of three films that Carlos Saura made of Gades' three great shows: "Bodas de Sangre" (1978), "Carmen" (1983) and "El Amor Brujo" (1985). Gorgeous Laura del Sol is a young dancer named Carmen in whom Antony sees from the first sight another Carmen, who was immortalized by two Frenchmen, the writer Prosper Mérimée in his most famous novella written in 1846 that had inspired George Bizet's world famous Opéra-Comique version from 1875.

As in the opera and in the novella, Carmen in Saura's film is desirable and deadly, the ultimate femme fatale who has to be free above anything else. She could not tolerate the possessive love of any man and would prefer death to submission. There some 50 movie adaptations of the story and the opera to the screen, and as different as they are, they all have in common the only possible tragic end. Saura/Gades' film is unique as the most sensual of all and truly Spanish. I fell in love with it from the first time I saw it over twenty years ago and it is as special and beautiful today as it was back then. Highly recommended.

While rehearing Carmen of Bizet, the middle-aged choreographer Antonio (Antonio Gades) brings the sexy Carmen (Laura del Sol) to perform the lead role. Antonio falls in love for Carmen, who is an independent and seductive woman incapable to accept a possessive love. When Carmen has an affair with another dancer, Antonio is consumed by his jealousy like D. José in the original opera, entwining fiction with reality.

"Carmen" is another great movie of Carlos Saura's trilogy dedicated to the Flamenco dance. The dramatic love story is developed with the lives of the artists entwined with the characters they are rehearsing, and many times is not absolutely clear whether what is happening is reality (with the dancers) or fiction (of the play). Paco de Lucia is another attraction of this original version of the famous Bizet's opera, which is based on the novel of Prosper Mérimée. My vote is seven.

Title (Brazil): "Carmen"

This is one of the best films we watched in my high school Spanish class. If you are a fan of the opera, this film will strongly entertain you. Of course, the dancing is wonderful. Watching these amazing dancers moving to the music of Bizet is well worth checking out.

On the face of it, Carlos Saura's 1983 Carmen is simply yet another version - to join dozens of others - of Bizet's world-famous opera, using flamenco music and dance, and a modern story-line, alongside elements of the opera. Following in the footsteps of many a Hollywood musical, Saura sets his story in the period of rehearsal before a new production, except in this case there is no successful opening night as the climax of the movie, but a tragic death echoing the opera. The music and dancing are dramatic, passionate and exciting, especially for those of us who love flamenco; and the weaving together of the modern characters and plot with those of the opera is effective, if somewhat contrived.

There is, however, an ironic aspect to the film. Possibly no country in the western world has a stronger culture than Spain. Spanish food, drink, language, literature, music, dance and much else are unique and immediately identifiable. Yet one of its national icons - the free-spirited gypsy Carmen, who seduces and abandons men at will - is a totally French creation. Bizet, who never set foot in Spain, based his 1875 opera on a story by Prosper Merimée, also a Frenchman; and no matter how Spanish his music sounds, it is merely imitation. So for Saura to base a film on Carmen has a significance not shared by the other two films in his "flamenco trilogy" - Blood Wedding and Love the Magician - where the originals are quintessentially Spanish.

It is tempting therefore to regard the film as a kind of reclamation for Spain of Bizet's pseudo-Spanish Carmen. And certainly in the adaptation for guitar of some of Bizet's music, and in the translation to flamenco dance of some of the action of the opera, such a reclamation or reconciliation has taken place. But I for one wish that Saura had gone further; had deconstructed the original stereotypes; and had shown that by the late 20th century José had grown up, and could refrain from knifing Carmen, no matter how Spanish he might feel and how free-spirited she might be. In other words, perhaps a happy Hollywood ending would not have been such a bad idea!