The Loves of Carmen Page #6

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


Yes, you've changed.

We become what we do.

Don Jos.

For all these months, I've been

telling myself, "I am not Jos, e! Navarrs.

"I'm not truly a deserter.

I'm not a robber. I'm not a thief.

"I am Don Jos Lizarabengoa,

a well-bred young man with a bright future,

"who is, for the moment, playing at being

a highwayman, because he loves Carmen."

But that's not true.

I am no longer Don Jos,

because we become what we do.

I am Jos, e! Navarrs, and I am just

as cruel and ugly and hard as Garcia was.

No. You're worse,

because you have a conscience.

The only really wicked men I've ever

known were those who started as idealists.

That's what depravity feeds on.

Illusions and idealism and love gone wrong.

I have news for you, Navarrs.

There's nothing for you to worry about.

She is having a good time, like I thought.

And I know where she is.

- And who it is she's taken up with.

- Who?

You heard her mention Lucas,

the bullfighter?

He has a fine house

in the street of the Bajari.

And they're together every afternoon

in the Corral de la Plaza.

I would certainly go there

and bring her back if she belonged to me.

No wife of mine would go around

flaunting herself in front of...

No, Jos. No, look, I'm only telling you

for your own good. Jos, please...

Poor Pablo.

No matter what he does, he always

ends the same way, on the ground.

Don't be an idiot. You can't go into the city.

They'll shoot you down

without even thinking about it.

Be patient, amigo.

She'll be back one of these days.

- You must get used to this sort of thing.

- Never.

There, little bullfighter. And there'll be

another one for every bull you kill.

Be careful, you'll have me

killing every bull in Spain.

Bring me the ears, Lucas.

Don't forget the reward, now.

5,000 duros, and I get half of it.

He'll come along, you'll see.

He'll be coming here to get her.

Just keep your eye on her,

and you'll get him.

What kind of a fool are you

to show your face in Cordova?

- Carmen.

- Did you see that black cat?

A black cat is all kinds of bad luck.

It means serious trouble every time, Jose.

- If you had any brains at all, you'd...

- Carmen, let's go home.

- No.

- Please, Carmen.

I can't stand it any longer,

this waiting. Please.

Maybe tomorrow, Jose.

Maybe I'll be back tomorrow.

It's because I hit you, isn't it?

You wouldn't have left me if I hadn't.

I know you wouldn't.

I don't know what made me do it.

I'll never do it again. I promise.

I'll be a good husband.

But please, Carmencita.

Please come home with me.

- No.

- You'll do what I tell you to do.

I'll do what it pleases me to do.

I always have, and I always will.

And right now it pleases me

to watch the bullfight.

It's Lucas the matador now, is that it?

- What difference does it make?

- Answer me!

Yes! Yes! Now, are you satisfied?

And why not?

I like to laugh once in a while,

and what have I had with you?

Nothing but tears and preaching

and long faces.

I can't live penned up in a cage. I won't!

I'm sick of it, can't you understand?

I'm sick of you.

Now get away and leave me alone!

Carmen, don't leave me, don't leave me.

I love you so much.

See how much I love you.

You are all I have left in the world,

little Carmen. I gave up everything.

I've lost everything.

I gave it all up for you, but I don't mind.

I'm not sorry.

Only, please, please don't leave me.

Like a worm,

cut him in half and still he crawls.

Listen. They've let the bull in.

You're keeping me from seeing the bullfight.

You're not gonna get away with it, Carmen.

Not this time you're not.

I'll kill him, do you hear me? I'll kill him!

And what would that settle? You've

killed two men who loved me. And for what?

Then I'll kill you, you black-hearted witch!

I'll kill you.

I used to think you would, but I don't

any more. You're not man enough.

Now get out of my way!

For the last time,

are you coming back with me?

Do not hang on to me. I can't stand

to have anyone hang on to me!

- Answer me!

- No, no, no, no, no!

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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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