The Loves of Carmen Page #4

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


Can you forget so soon? Can you?

Go back to him.

Go on, go back where you belong.

Look at me, Josito.

Look at me.

So much the better. I'll live longer.

How do you like this life? Pleasant, isn't it?

You eat better than you do in the army,

and the pay is much better.

You can see that already.

Garcia got 2,000 duros to divide among us

just for politely delivering some tobacco

to a crooked cigar maker.

- What could be simpler than that?

- He can keep my share.

- Your share of what?

- The money.

I did not quite know what you meant.

Jose, did you see the posters in Cordova

offering a reward for your capture?

You're very fortunate that your companions

have such nobility of character.

But don't trust Pablo. He has no manners

about things like that at all.

Get off. I'll see what's ahead.

Take cover, they've seen us!

- Do you know how to use a gun, cabal/era?

- I was a soldier.

I know, but can you shoot?

- I can do anything you can do.

- Does Carmen say so?

If she does, she lies, the black witch.

- Josito.

- Keep down, you little fool.

I'm not afraid. When I'm killed,

it won't be by a stranger, Jos.

That much I know.

Joseito, listen! We could get out of here

without anyone even knowing it.

Then if Garcia stayed and got himself killed,

we couldn't help that, could we?

The soldiers have good pistols

and they shoot straight, Josito.

I hate him, but he's my comrade.

You're a true payo, all right,

always afraid of being dishonourable.

You are like the dwarf who thought himself

tall because he could spit a long distance.

You don't love me.

The sergeant's been killed!

The sergeant's been killed!

Come on. Let's get out of here, fast now.

Those soldiers have only gone

for reinforcements.

I don't believe I'll try

to go with you right now, Jose.

Something seems to be wrong.

I'll get your mule and put you on it.

Let's go, Jose, and bring the chickens.

No use leaving them for the soldiers.

Wait a minute.

You don't understand.

He isn't dead. He's only hurt.

He's still alive? I didn't know that.

We'd be foolish to leave him here.

He might be recognised as one of our men.

Garcia!

It would take a clever person

to recognise him now. Carmen.

That girl is crazy,

bathing in these icy waters.

Listen to her.

I didn't say, "Look at her," payo.

I said, "Listen to her."

I can't see her from here.

But you can see her in your imagination.

That's what you're doing,

seeing her in your mind.

I can tell it from your face.

I'm afraid you'll have to be content with

just sharing my money with me, caballero.

I don't want to share anything with you.

You keep your filthy money.

He doesn't want my money.

Just what did you have in mind, cabal/era,

that you do want in payment

for the work you do here?

Is there anything else that belongs to me

that you were thinking about?

Anything that belongs to you

would be just as filthy and evil as you,

and I wouldn't want it.

I'll tell her, payo. I'll tell her.

But watch yourself,

she will probably slit out

your white liver

and serve it to me for breakfast.

Are you such a coward you have to have

a woman do your carving for you?

- Coward?

- Yes, coward.

Has it slipped your mind that

we lost a man today, Garcia?

So we did.

So we did.

Now, then, it looks as though

I'll have to let this puppy live

until I can find a man to replace him.

I am unarmed, payo, as you can see.

An honourable gentleman like yourself

doesn't attack an unarmed man, does he?

Does he, Don Jos?

It would be too bad to kill him and waste

the nice, fat reward offered for his capture.

Courage, little mule. Only two more turns

in the road, and we'll be in Cordova.

I'll have to find a lovesick fool

who'll follow me into a nice little trap.

Then we'll have some money to spend,

and you'll have a fresh carrot.

Not here yet. Another hour until sunset.

We'll have time for a game of cards

before they come.

Too bad the Navarrs won't be here

to see the fun.

I wonder why he refused to obey

your orders and come with us.

He said he was sick, and I believe him.

- He is sick.

- He's sick, all right.

Sick because Carmen

is doing a little work, for a change.

Don't payo women contribute anything?

Payo women do not, ordinarily, pick up men

and lure them into ambush to be robbed

by their husbands, Garcia.

He is what he is. He's not a gypsy.

- He can't think the way a gypsy does.

- You're not a gypsy. You think the way I do.

I don't think at all. That's my protection.

And I feel nothing.

I simply observe, and I'm amused.

El Navarrs is not an observer.

He feels strongly, and it's killing him.

Don't worry.

I won't let him die slowly of love, Dancaire.

Are they here yet?

With the bullfights in Cordova this week,

Carmen should have very good luck.

When the bullfights are in town,

the place is always crowded

with nice, fat pockets to pick.

- You're in good form today, Lucas.

- I'm in good form every day, Carlocito.

No ordinary bull can stand on his feet

against cunning like yours, Lucas.

Nor any ordinary woman.

But then I'm not an ordinary woman.

You know, you look to me like a man

who would enjoy having his fortune told.

And you look to me like a girl

who would be very skilful at it.

I have a little place on the edge of town

that's a very nice little place

for fortune-telling.

And I know a little place

in the middle of town

that's a better place for fortune-telling.

- And I say we'll go to my little place.

- And I say we'll go to mine.

- She should've been here a long time ago.

- Maybe she never went into town at all.

Maybe that's why the Navarrs lied

and said he was sick.

Maybe they had it planned

that way all the time.

That's not true, Garcia.

You two remain here for another hour.

If she still comes, we'll have lost nothing.

If she's playing games with me,

it only takes one of us to deal with her.

Why do you hate e! Navarrs so?

Can it be because Carmen...

Shut up!

Well, you, too, Pablo?

Poor little Carmen, such magic

as she possesses can only destroy her.

Josito.

- You didn't go with the others?

- No.

You didn't take anyone to them

for them to rob?

- No.

- Why not?

Maybe because...

Maybe because I had a feeling you didn't

want me to do those things any more.

I can see you don't believe me. Too bad.

- Don't you want something to eat?

- No.

- Aren't you hungry?

- No.

I am. I'm always hungry.

You never are.

How can I be,

when I'm sick every minute of the day?

I know what's the matter with me.

Why don't I go away from here?

It's driving me crazy being around you,

knowing that you're married to another man.

Why don't I go away where I can't see it?

I wouldn't be married to another man

if you'd used your head yesterday, would I?

So, my little companion,

you would play games with Garcia?

I believe we had a rendezvous at the edge

of town at sunset. Was I mistaken?

Could I possibly have missed you,

or is it possible

you didn't feel like working today?

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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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