The Loves of Carmen Page #5

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


No, you didn't miss me, Garcia.

I had better things to do today.

Didn't we, little soldier?

You filthy wench. You can choose

your pastimes where you like,

but while I'm master here, you'll work, too.

Nobody is my master, you dirty old goat!

I'm Carmen, and I work when I want to work!

So, puppy, you would play games

with Garcia, too?

Don Jos.

I'll kill you.

Two murders on your soul now, for nothing.

Why didn't you just ask him for Carmen?

He'd have sold her to you.

- Sold her?

- Yes. Gypsies sell their women.

He bought her, married her when she was

12 years old, a typical gypsy marriage.

- I'm going to marry her.

- How? Where?

You can't show your face in a town in Spain.

Then we'll have a gypsy wedding,

a gypsy wedding in the hills.

You'll be a fine pair, you two.

Payo and gypsy, the tamed

and the untamed, the dog and wolf.

Dog and wolf

weren't created to live together.

It won't work, Navarrs. You'll see.

One camp is the same as the other.

Why are we moving?

We move when the birds move.

They have an instinct about those things.

We go now to our winter home, Josito.

We should send out invitations, I think.

The sefior and sefiora...

What did you say our name is?

Lizarabengoa.

...will be at home for the winter

in the caves of Granada.

Won't it be cold living there in the caves?

No, Josito. It won't be cold.

Everybody out, line up and no talking.

Your valuables.

We have company.

What are you doing here? I told you

I wanted you to stay away from this.

I was bored.

I won't sit on my haunches and wait for you

like a wife of a payo, stirring a pot of stew.

I've been my own woman

and a gypsy too long, my friend.

I told you to leave these matters to me.

I want no more of this.

You told me. You wanted no more.

I'm not your slave. I'm Carmen,

and nobody tells me what to do!

I do as I please. If you are ashamed

of what I am, find another woman.

Get yourself a payo wife.

You and your payo honour.

I spit on your honour.

Get back to camp.

- I always used to ride with Garcia.

- I'm not Garcia.

No, you're not. In many ways, you're not.

Get back in the coach. All of you!

Your leader is a brave man everywhere

but at home, it seems.

Carmen. Carmen, let's go away.

I want to clear out of this.

- Come away with me, Carmen.

- Where to?

Where do you think you can go

with every Dragoon, every soldier

under orders to shoot you

at sight like a mad dog?

I don't know where we could go,

but I know that I'm sick to death of this.

I've had enough of it.

We could go away, you and I,

perhaps to the New World, to Mexico.

I want to live like other people,

without hiding.

I'm hungry for the sight

of simple, gentle people.

I want to sit around with plain men

and talk about farming, about...

I find myself so many times, lately,

thinking about my home in the north.

They'll hang you there, too,

if you show your face.

But we could go to Mexico, couldn't we?

It wouldn't be like home,

but we could live like other people.

I wasn't born to grow cabbages, Josito.

You knew that right from the beginning,

when you chose to lead

this kind of life with me.

I didn't choose it.

So it's my fault!

I led you into it, by the nose, I suppose!

You killed the Colonel. I didn't.

Dog and wolf.

It's beginning, just like I said. Dog and wolf.

I knew you would be a nuisance. I said it!

You and your tiresome regrets

and your weeping about something

that's already over and done with!

Take your payo conscience and make

some other woman a present of it.

I tell you I'm sick of it!

It'd be well if you borrowed

some of my conscience,

because you have none of your own.

You wouldn't love me nearly so much

if I had a conscience, Josito.

That's a wonderful excuse,

to say, I'm a gypsy,

and I don't know right from wrong.

I don't know, Josito, tell me.

What is right, what is wrong?

Is that wrong, little soldier?

Out of the way, gypsy.

Out of the way, I tell you. We're in a hurry.

Well, now, so the payos are in a hurry,

are they? That's too bad, isn't it now?

Because I'm in no hurry at all.

- Carmen.

- Lucas.

Carmen, where have you been?

Cordova hasn't seen you in months.

Well, I've been a little busy, Lucas.

A few killings, a wedding here and there.

And what about you?

Also a few killings, but no weddings.

And many happy hours of thinking of you,

my Carmen.

I was on my way into Cordova

to pick up a few provisions.

But you know I am the best provider

in all Cordova, Carmen,

to a very small and exclusive clientele.

I provide music and dancing

and laughter and little memories.

Other times, when she went into Cordova

for supplies, she came back the same day.

Probably the rain that's keeping her away.

You won't be seeing her for quite a while.

You might as well make up your mind

to that. Carmen likes to laugh,

and there hasn't been much of that around

here lately, it seems to me.

She's found herself a good time somewhere.

I know her better than you do, Navarrs.

I tell you, I do know her better.

You shouldn't have kicked him.

His nose is broken.

You don't like us, do you?

We fill you with disgust.

We're the symbol of your degradation.

Where've you been?

Answer me. Where've you been?

I'll beat you black and blue

if you don't answer me.

I was in Cordova, worrying about you.

Another regiment of lancers

arrived in town today,

and I saw a poster offering a reward

of 5,000 duros for your capture.

If you're clever, you'll get out of here.

There're some people who might think

5,000 duros worthwhile.

I know a place outside of Gibraltar

where you could stay.

There're some cotton goods

coming in from England.

You could pick up some and sell

them to Rodrigo. He's still in Gibraltar.

Help me.

Where've you been?

I went to the bullfight yesterday, and I

saw a very clever bullfighter called Lucas.

They say he has an embroidered vest

that cost 3,000 duros.

Imagine, a vest that cost 3,000 duros.

- Where did you get that dress?

- That's my affair.

Where did you get that dress?

I'll kill you. As heaven is my witness,

I'll kill you if you don't tell me!

- Josito, little soldier...

- Who is he? Who is he?

- Who gave it to you?

- Look, Josito. Look!

- Look how Carmen loves you. Look!

- I know you. I know what you are!

Who is it now? Who is it now?

Who is it now?

The cards never lie to a gypsy, my friend.

They always tell the truth, Lucas.

And what are they telling you at this minute

that makes you look like

such a beautiful thundercloud?

They tell me that the thing I've been

expecting is coming nearer, Lucas.

They tell me that it might be soon now.

You're really afraid of something

you see there, aren't you, Carmen?

You're not the only one who has death

as a business partner, little bullfighter.

Death travels with me, too.

In the form of a man who loves me.

The cards always say that, Lucas,

that such a man will kill me.

And I know such a man.

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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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