The Loves of Carmen Page #2

Synopsis: 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.
Director(s): Charles Vidor
Production: Fox Film Corporation
 
IMDB:
6.4
Year:
1948
99 min
156 Views


Where are you taking me, sefior e! Navarrs?

- To the magistrate.

- To the magistrate?

He will send me to prison.

I can't go to prison.

A gypsy dies in prison,

and I have no money for a bribe.

In this city, you rot in prison

without money for a bribe.

I know. Believe me, I know. I have a friend

who's in prison right this very minute.

That's why I'm here in Seville,

working my fingers to the bone

to get enough money

for a bribe to get him out.

I'm not afraid of hard work.

I'm a good, honest, working girl.

But who would take care of me

if I ever fell into prison?

Nobody cares about me.

I'm all alone in the world. All alone.

He pinched me.

I was walking along so obediently,

and he pinched me in a most vulgar way.

- She lies! I didn't touch her.

- Fall back. You, walk with the other.

Now this one.

Is there no protection against the advances

of these filthy conscripts?

I did not...

Look, little soldier,

what a good street this is.

I could give you a little shove,

and you could fall down,

and I could get away,

and nobody would catch me.

I'd be gone before those stupid Andalusians

ever knew what happened.

Nobody would know.

You could tell them I escaped.

Then I'd be very grateful to you.

I'm very charming when I'm grateful.

Remember, 8:
00 tonight at Lillas Pastia's?

How can we be there together

if I'm in a dirty prison cell?

It would be so easy. I run very fast.

You should see me run.

I have very good legs.

See what good legs I have,

little soldier, for running.

Wait a minute. Come back here. Help me up.

I think I've injured my ankle.

He made no attempt to pursue the prisoner

and pretended injuries

to prevent his men from following her.

I warn you that you have sacrificed

months of good behaviour.

You had a bright future

in the Dragoons, Don Jos.

I advise you to avoid this gypsy.

I grant you the girl is interesting.

But for a young man

who takes his future seriously,

a girl like that spells ruin.

For an older man who has nothing to lose

and has time

for a little foolish indulgence,

it's another matter, perhaps.

Remember what I told you.

You'll take extra guard duty and be

confined to your barracks for 30 days.

- Dismissed.

- Yes, sir.

- What is the password, sentry?

- Carmen! Carmen is the password!

Just mention her name

and the way is cleared, like a miracle!

Take pity. Take pity.

Bless you.

- What are those gypsies doing here?

- They've come to entertain.

The Colonel sent his own

carriage after them.

When he gives a party,

he does things handsomely,

I'll say that for him.

That girl, the one who's dancing,

how can she be so bold

as to come to the Colonel's party?

- She's in hiding from the police.

- That's Carmen.

And the Colonel is a man,

just like any other man, I suppose.

But it won't last.

She never likes anybody very long.

What are you doing here?

Have you been free to come and go

and make eyes at every man you see

while I've had to walk sentry duty

like a common soldier, because of you?

Have you?

Tell me how that could be,

or as heaven is my witness...

Tell me how that could be!

Well, now.

This is the first time

I've heard you really talk.

Anger is very becoming to you.

- You make me think of a fighting bull.

- Answer me!

It is very simple in this case.

The good, kind Colonel has pardoned me,

-because I am innocent.

-Innocent.

Well, isn't that why you let me run away,

because I was innocent?

But what could I do?

I've waited for you every night.

If you preferred to walk alone in the rain,

is that my fault?

But why was I walking?

Because I was punished

for letting you escape, that's why.

All that for me, just imagine!

I owe you a great deal, it seems.

- How much longer must you stand here?

- What importance is that to you?

Another hour.

Just one more hour, and I can leave here.

I'm confined to the barracks,

but I'll get away. I swear it.

Come to think of it,

I'm beginning to be bored with this party.

I think I shall run away from it

and go to Lillas Pastia's.

In about an hour. That same hour

you were speaking of, little cousin.

Notice how the fat is spitting tonight?

Something is going to happen.

You really believe in those things,

don't you, old witch?

I know them.

What does spitting fat signify?

That emotions will grow overheated

until they explode.

You wait. You'll see.

Well, then, it's nothing to worry me,

since I have no emotions.

It is nothing to worry Pablo, because Pablo

is worried about nothing but money.

It is nothing to worry Remendado,

because Remendado is a fatalist, anyway.

So you see, old crone,

the three of us are safe from danger.

Who would you say

the fat is spitting at tonight?

Well, the buzzards have gathered already.

- Didn't you expect us?

- Yes, but not tonight.

- We couldn't wait any longer.

-It was a case of fish catches men.

We could smell it frying

clear up in the mountains.

That reminds me.

If that old trout, the Colonel, comes here,

tell him I've gone.

I've gone to Portugal or somewhere.

I told him not to come here tonight.

And to keep him away, I promised him

faithfully I would go back to his house.

But I don't trust him. Men are such liars!

- What about Andrs?

- Who?

- Andres. You knew his name yesterday.

- Tell him I've gone to Gibraltar.

Carmen, was the Colonel's party

successful, Carmen?

- No, it was very stupid.

- Was it successful?

We need another 200 duros

to get Garcia out of jail.

Let him stay where he is.

Is that a way for a loving wife

to feel about her husband?

- Let him rot!

- No money for Garcia?

We will tell him.

- There, thief, and be welcome to it.

- Is this all?

I left the party early.

There is much love in your cards, Carmen.

Much, much love.

And money. A fine new dress of silk.

- I can feel the silk. It's the best quality.

- Good.

Perhaps Garcia will be rescued

from jail, after all. And prosper.

Perhaps. Perhaps they'll hang him.

Do you happen to see a nice hanging there?

No. No hanging.

Too bad.

- Now, that's odd.

- What is?

One love.

One love emerges from all the rest

and makes the others nothing.

You're talking nonsense, old witch.

There is no such thing

as one love to Carmen.

One at a time. One at a time.

Nothing can stop this.

It's destined. It's written here.

You're doing it yourself.

You're pulling it to you with dark,

invisible threads that are strong, Carmen.

As strong as life itself.

As strong as death.

What is it?

What do you see there

that makes you look like that?

- That isn't my fortune.

- The fat's in the fire, all right.

Just as I said.

That isn't my fortune, I tell you.

I didn't cut the cards.

Anyway, I don't believe in cards.

I never have.

As if you could see in those stupid cards

that death was walking my way.

We all have to die,

and I can't think of a nicer way

than to be killed by love.

Where are you going, little soldier?

Because wherever it is, I'm going with you.

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Helen Deutsch

Helen Deutsch (21 March 1906 – 15 March 1992) was an American screenwriter, journalist and songwriter. Deutsch was born in New York City and graduated from Barnard College. She began her career by managing the Provincetown Players. She then wrote theatre reviews for the New York Herald-Tribune and the New York Times as well as working in the press department of the Theatre Guild. Her first screenplay was for The Seventh Cross (1944). She adapted Enid Bagnold's novel, National Velvet into a screenplay which became a famous film (1944) starring Elizabeth Taylor. After writing a few films (Golden Earrings (1947), The Loves of Carmen (1948) and Shockproof (1949) ) for Paramount and Columbia Pictures, she spent the greater part of her career working for Metro-Goldwyn-Mayer and wrote the screenplays for such films as King Solomon's Mines (1950), Kim (1950), It's a Big Country (1951), Plymouth Adventure (1952), Lili (1953), Flame and the Flesh (1954), The Glass Slipper (1955), I'll Cry Tomorrow (1955), Forever, Darling (1956) and The Unsinkable Molly Brown (1964). Her last screenplay was for 20th Century Fox's Valley of the Dolls (1967). more…

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Submitted on August 05, 2018

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