The Loves of Carmen Page #3

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


Get busy, you two. We want some yemas,

nougats and a bottle of wine.

Bottle of wine.

Some bread and some cheese

and some fruits, candy and sausages.

We are on our way to a feast.

Do you want us to starve to death?

Pay the old pirate, little soldier.

- There's so much here.

- She's always hungry, that girl.

Someday she'll eat the wrong thing,

and then she'll howl about the pain

as if she had never been warned at all.

Because they've lost their own appetites,

they hate to see anybody else enjoy eating.

Come along.

This is where I live.

Watch out. There are five steps here.

One, two, three, four, five.

Does it please you?

This is where I live when I'm in Seville.

Where do you live

when you're not in Seville?

- I've heard...

- Then you've heard lies.

Because what you have heard about me,

you have heard from payos.

And payos always lie about gypsies.

Always.

Is it really true what I've heard

about the men of Navarre?

What?

Is it really true that they wear little

blue berets and tell big black lies?

- Never. Never.

- And don't know how to love a woman?

Well, that's true.

Teach me.

lam from Navarre and I don't know a thing.

There's a big black lie.

The gypsies say

that a lover should have gentle hands,

a gentle mouth and a gentle heart.

- And a woman the same?

- No.

She should have cruel hands,

a cruel mouth and no heart at all.

Oh, no. No. My beads.

Oh, no.

The cards. You don't know about the cards.

And this morning, I saw a black cat.

And now the beads.

Breaking beads are the worst,

the very worst.

Those things don't mean anything.

That's just superstition.

Go away. Go home.

Say goodbye and think no more of Carmen.

- What is the matter with you?

- You're a nice boy, but I don't love you.

I don't love anybody.

I never in my life loved anybody.

And you are just the sort of big stupid

who falls in love in return for a kiss

and then makes a nuisance of himself.

You can go out this back way. Get out.

Have you lost your hearing?

I said, "Go home!"

But why?

Because I am afraid that...

- That someday you will be very cruel.

- Carmen...

Go away.

You can't make me go away.

Not now, Carmen.

- I can make you do as I please.

- No.

Yes, anytime. Anytime I like.

I won't have you here.

You're the one. I can sense it.

A gypsy knows things.

I never want to look

on your ugly, murdering face again!

Do you hear me? Stay away from me.

Josito! Wait!

Josito.

I think I must be crazy.

I don't know how to say it.

I don't know how to tell you, but...

Love has been told a thousand ways,

so let it be.

You'll come with me to the mountains,

where we'll...

Get out.

I order you to leave.

Report to me in the morning.

I order you to leave.

Carmen is not here. Now get out.

You'll be court-martialled

in the morning, of course.

In the meantime,

I think you need to be taught a little lesson.

A little lesson, for a little Corporal.

A little lesson for a white-livered conscript.

The others should be riding in any time.

I wish they wouldn't come.

I wish they'd never come.

We couldn't get along without them.

We haven't got a peseta between us.

A man as hunted as you are needs friends,

good money-making friends.

I don't know what's happened to me.

Here I am, a deserter from the army,

the murderer of my own Colonel.

I can't imagine how it happened.

One minute, I thought he was going

to kill me, and the next minute, there...

My sword.

Don't think about it.

You're here and I'm here.

That's enough.

Think about it that way.

Just Carmen and Jos.

- All to myself.

- All to yourself.

Where have you been?

We've been waiting for you.

This is Don Jos,

a strong, healthy addition to our company.

You'll find him very valuable.

This is Remendado.

He's stupid, but a good enough fellow.

This is Pablo. He's very good at fighting,

but don't ever turn your back on him.

I can well imagine you're starving.

I have everything ready.

The soldier here

has just escaped with his ears.

All of Seville is after him.

He killed his Colonel in a sword fight,

ran him through as neatly as a pig on a spit.

So I decided he could join us.

I like him.

What will Garcia say?

We need new men.

Garcia is practical in his thinking.

- Who's Garcia?

- Garcia?

He's our leader. He's been in jail.

He killed a border policeman.

That's eight notches on his belt now.

Eight?

Eight or one,

what's the difference in principle?

Dancaire's in Seville now

arranging for Garcia's release

with a nice, fat bribe.

It isn't a bad life. We travel.

There's a certain excitement about it.

And when we're lucky, there's money.

A little smuggling now and then,

an occasional stagecoach

full of rich passengers,

a mule train carrying merchandise.

Sit down, Jos.

Here. Beside me, where you belong.

I'm still wondering what Garcia will say.

You might like to know that we cleared out

the old merchant's storehouse

-without a cracked skull between us.

- Good.

It was chock full of tobacco

and cotton goods, like you said it was.

The thieves' market in Cordova

will be glad to see us.

We couldn't have done it without Carmen.

She charmed the watchman

away from his post

and trussed him up like a turkey

ready for the oven.

You cheated and tied up an old man

so that they could commit a robbery?

Tobacco's very valuable.

We sell it to smart cigar makers

who wish to evade the government tax.

Jos, listen to me.

Whatever happens, say nothing.

Do you understand?

For my sake, Josito, say nothing.

- Dancaire!

- Remendado!

It's good to see your ugly face.

We got the tobacco for you. And plenty of it.

- Fine.

- What a ride.

Pablo, see what's in the pot.

Get me something to eat.

- Right away.

- Dancaire, Remendado, see to the mules.

Carmen!

Show these ruffians how glad you are

to have me back.

How I thought of you!

Every night, I said to my jailer,

"My Carmen is the most

beautiful woman in Andalusia,"

and he said to me. "Go to sleep,

you filthy goat, and dream about her."

And I did.

I did! I did. I did. I did. I did.

Come, sit beside me.

Who is that?

He's a hero.

He killed a colonel of the Dragoons.

Good. What's his name?

Don Jos.

Don Jos. A gentleman. Welcome, sefior.

What's the matter with him?

Oh, no!

Now that makes me sick.

Greetings!

Well, there was a lot of excitement

about you in the city today, and I...

- Who is he? Who is that fellow?

- Garcia. He's our leader.

Take my advice and keep away from him.

He is a good leader,

but another man's life

doesn't mean much to him.

He's her husband, Navarrs.

- Her husband?

- That's right.

- Josito, I want to tell you something.

- There's nothing you can tell me now.

Why didn't you tell me before?

Why didn't you tell me about Garcia?

- I didn't know he'd be back so soon.

- You knew. You knew.

All right, but I didn't think

he'd be back until tomorrow.

Is it my fault he rides that fast?

What kind of a creature are you?

Your kind, Josito.

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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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