6.9/10
814
18 user 3 critic

Carmen (1915)

Not Rated | | Drama | 31 October 1915 (USA)
In order to help her smuggler kinsmen, a sultry gypsy seduces and corrupts an officer of the Civil Guard turning him into a traitor and murderer.

Director:

Cecil B. DeMille

Writers:

Prosper Mérimée (novel), William C. de Mille (photoplay)
Reviews

On Disc

at Amazon

Photos

Learn more

More Like This 

The Cheat (1915)
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 6.6/10 X  

A venal, spoiled stockbroker's wife impulsively embezzles $10,000 from the charity she chairs and desperately turns to a Burmese ivory trader to replace the stolen money.

Director: Cecil B. DeMille
Stars: Fannie Ward, Sessue Hayakawa, Jack Dean
Regeneration (1915)
Certificate: Passed Biography | Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

A boy surrounded by violence grows up to become an infamous gangster.

Director: Raoul Walsh
Stars: Rockliffe Fellowes, Anna Q. Nilsson, William Sheer
Crime | Drama | History
    1 2 3 4 5 6 7 8 9 10 7/10 X  

Two male musicians fall in love, but blackmail and scandal makes the affair take a tragic turn.

Director: Richard Oswald
Stars: Conrad Veidt, Leo Connard, Ilse von Tasso-Lind
Adventure | Drama
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

Lady Mary Lasenby is a spoiled maiden who always gets her way until shipwrecked with her butler, then learns which qualities are really admirable in a person.

Director: Cecil B. DeMille
Stars: Thomas Meighan, Theodore Roberts, Raymond Hatton
Hell's Hinges (1916)
Romance | Western
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

In the wayward western town known as Hell's Hinges, a local tough guy is reformed by the faith of a good woman.

Directors: Charles Swickard, William S. Hart, and 1 more credit »
Stars: William S. Hart, Clara Williams, Jack Standing
Comedy | Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

Susie, a plain young country girl, secretly loves a neighbor boy, William. She believes in him and sacrifices much of her own happiness to promote his own ambitions, all without his ... See full summary »

Director: D.W. Griffith
Stars: Lillian Gish, Robert Harron, Wilbur Higby
The Doll (1919)
Comedy | Fantasy
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Because the Baron of Chanterelle wants to preserve his family line, he forces his timid nephew Lancelot to choose one of the village maidens to wed. Lancelot flees to a monastery to escape ... See full summary »

Director: Ernst Lubitsch
Stars: Ossi Oswalda, Hermann Thimig, Victor Janson
Biography | Drama
    1 2 3 4 5 6 7 8 9 10 7/10 X  

The story of Madame DuBarry, the mistress of Louis XV of France, and her loves in the time of the French revolution.

Director: Ernst Lubitsch
Stars: Pola Negri, Emil Jannings, Harry Liedtke
Ingeborg Holm (1913)
Drama
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

Single mother is separated from her children due to financial struggles.

Director: Victor Sjöström
Stars: Hilda Borgström, Aron Lindgren, Erik Lindholm
Les vampires (1915)
Action | Adventure | Crime
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

An intrepid reporter and his loyal friend battle a bizarre secret society of criminals known as The Vampires.

Director: Louis Feuillade
Stars: Musidora, Édouard Mathé, Marcel Lévesque
J'accuse! (1919)
Drama | Horror | War
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

The story of two men, one married, the other the lover of the other's wife, who meet in the trenches of the First World War, and how their tale becomes a microcosm for the horrors of war.

Director: Abel Gance
Stars: Romuald Joubé, Maxime Desjardins, Séverin-Mars
Comedy
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

An American heiress seeks the hand of an impoverished German prince.

Director: Ernst Lubitsch
Stars: Victor Janson, Ossi Oswalda, Harry Liedtke
Edit

Cast

Complete credited cast:
Geraldine Farrar ... Carmen
Wallace Reid ... Don José
Pedro de Cordoba ... Escamillo
Horace B. Carpenter ... Pastia
William Elmer ... Morales
Jeanie Macpherson ... Gypsy girl
Anita King ... Gypsy girl
Milton Brown Milton Brown ... Garcia
Rest of cast listed alphabetically:
Tex Driscoll
Edit

Storyline

A group of gypsy smugglers are frustrated in their attempts to bring their contraband into the city by Don Jose, an incorruptible officer in the Civil Guard. In order to help her kinsmen, the sultry Carmen seduces him, persuading him to abandon his post and look the other way. When his infatuation leads him to kill a fellow guardsman in order to prevent her arrest, he becomes a wanted fugitive. The capricious, fickle Carmen resents his possessiveness and leaves him for a famous toreador in Seville. Obsessed and frustrated, a distraught Don Jose follows her to the bullring with tragic consequences. Written by duke1029

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
Edit

Details

Country:

USA

Language:

English

Release Date:

31 October 1915 (USA) See more »

Also Known As:

Кармен See more »

Edit

Box Office

Budget:

$23,430 (estimated)

Gross USA:

$147,600
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (Ontario)

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
Edit

Did You Know?

Quotes

Carmen: I fear no man.
See more »

Connections

Version of U-Carmen eKhayelitsha (2005) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
"My love is mine, to give or deny"
11 August 2008 | by Steffi_PSee all my reviews

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.


5 of 6 people found this review helpful.  Was this review helpful to you? | Report this
Review this title | See all 18 user reviews »

Contribute to This Page

Stream Trending TV Series With Prime Video

Explore popular and recently added TV series available to stream now with Prime Video.

Start your free trial



Recently Viewed