In Part Two of Louis Feuillade's 5 1/2-hour epic follows FantÃ'mas, the criminal lord of Paris, master of disguise, the creeping assassin in black, as he is pursued by the equally resourceful Inspector Juve.
Three centuries before Christus. Young Cabiria is kidnapped by some pirates during one eruption of the Etna. She is sold as a slave in Carthage, and as she is just going to be sacrificed to... See full summary »
Andrei lives a secluded life with his aunt, studying and thinking about his now-deceased mother. His friend Tsenin is concerned, and tries to get Andrei to accompany him to social events. ... See full summary »
The parallel stories of a modern preacher and a medieval monk, Gabriel the Ascetic, who is killed by an ignorant mob for making a nude statue representing Truth, which is also represented by a ghostly naked girl who flits throughout the film.
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
True blue Yankee soprano Geraldine Farrar was the first internationally adored entertainer, she reached more people as a film actress than she did singing at the Met, or indeed through her records. Over her career she made 14 films, recorded about 200 sides, and gave 671 performances in 29 operas. She recognised her voice wasn't up to the likes of Melba for instance, but she wanted primarily to be an actress – and when she put her mind to anything she got it, hence her personal motto through life: Farrar Fará (Farrar Will Do It). With endless confidence and a dynamism unusual in opera divas she made this Carmen for DeMille in 1915.
Story of fiery gypsy woman winning the heart of a soldier (cherub faced Wallace Reid) and using him ruthlessly to her and her people's own ends. Farrar wanted the part badly! The version I've just seen was a brilliant restoration production of a print from George Eastman House by VAI, complete with modern orchestral arrangements and perfect tints based on the original production notes and a Pre and Postlude chockful of background information (even with 3 original recordings from Farrar herself). The acting and production were good, sometimes surprisingly so for such an early film. Farrar piled on the drama for the camera, she portrayed a different emotion every 5 seconds to offset the lack of words – or lyrics! Her dress at the bullfight was something to look at, lovingly captured by DeMille and his film crew.
Maybe Joan The Woman was a better picture overall but Carmen is a wonderful little film, a curio as presented now but very easy to watch and at 75 minutes long with all the extras left me wanting more. Bravo!
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