A photographer for Life magazine comes to London to do a story on a local theater troupe which never missed a performance during World War II. Flashbacks also reveal the backstage love ... See full summary »
In Buenos Aires, a man who has decreed that his daughters must marry in order of age allows an American dancer to perform at his club under the condition that he play suitor to his second-oldest daughter.
William A. Seiter
Chronicles the early life of gay nineties-era songwriter Paul Dresser as he outgrows his job as carnival entertainer and moves up into New York society, writing one hit song after another. ... See full summary »
After her banishment from Rome, Jewish Princess Salome returns to her Roman-ruled native land of Galilee where prophet John the Baptist preaches against Salome's parents, King Herod and Queen Herodias.
In order to cover up his philandering ways, a married Broadway producer sets one of his dancers up on a date with a chorus girl for whom he had bought a gift, but the two dancers fall in love for real.
Joey Evans is charming, handsome, funny, talented, and a first class, A-number-one heel. When Joey meets the former chorus girl ("She used to be 'Vera...with the Vanishing Veils'") and now ... See full summary »
Following the plot of the opera, "Carmen," this story follows the wild gypsy's adventures as a siren and bandit. Carmen lures an innocent soldier to his ruin, getting him expelled from the army. He then turns to banditry, killing Carmen's husband and others. All this makes for an unhappy ending with the innocent repenting his sins and dying for them.Written by
The American Film Catalog of Feature Films 1941-1950 identifies Don José as Don José Mizarabengoa, but several "Wanted" posters in the film itself all clearly identify him as Don José Lizarabengoa, as posted on IMDb. See more »
Carmen and many other lower class women wear high heeled shoes, a type of footwear that in the Spain of the 1820s was worn only by upper and middle class women. A gypsy such as Carmen was more likely to wear abarcas and other types of slippers, or else go barefoot. See more »
Rita makes tempestuous but artificial beauty as Carmen...
There are times when RITA HAYWORTH, with her flashing eyes, heady mane of tresses and way with castanets and Spanish dances, amply fills the role of Carmen in THE LOVES OF CARMEN. She captures the flirtatious moods and stormy temperament without any trouble at all, and yet somehow every ravishing close-up reminds us that she has just been all glammed up by the make-up artist, every brush on her lips and hair and brows just given the royal Hollywood glamor treatment. Her glamor is so distracting that it renders her Carmen unrealistic, even though she certainly has the temperament to go with the part.
GLENN FORD is somber, stalwart and rugged enough as Don Jose but it doesn't seem like ideal casting. He looks uncomfortable in much of the early footage and only comes to life when he has killed a man and must spend the rest of the film on flight as a bandit and desperado in the rugged mountains. His performance strengthens and his love/hate relationship with Carmen is, for the most part, quite believable.
But some pseudo-Spanish music in the background score with a hint of Bizet would have been a wise approach to scoring the film. And giving Rita more than a couple of fiery dances would have been a smarter idea. As it is, her dancing moments are when she most completely captures the spirit of Carmen.
It's entertaining, in a lumbering sort of way--not exactly the most well paced version of the story. Hayworth is gorgeous to look at with a peaches and cream complexion that fairly glows in Technicolor, but all of her close-ups remind us that she is The Love Goddess being given the high gloss glamor treatment by the studio that made her a star.
But, reservations aside, for fans of Hayworth and Ford, this is a must see.
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