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content="2024-11-23T18:01:26+11:00"> <meta itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2024/cteq/carmen/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Faith Everard"></span> <meta itemprop="headline" content="Carmen"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead.jpg"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-49491" class="clearfix post-49491 post type-post status-publish format-standard has-post-thumbnail category-cteq"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead-750x400.jpg" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead-750x400.jpg 750w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead-300x160.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead-768x409.jpg 768w, http://www.sensesofcinema.com/wp-content/uploads/2024/11/Carmen-lead.jpg 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>Carmen</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline"><i>Carmen</i></h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/faith-everard/" title="Posts by Faith Everard" class="author url fn" rel="author">Faith Everard</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2024-11-23">November 2024</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/cteq/" title="View all posts in CTEQ Annotations on Film">CTEQ Annotations on Film</a></div></div></div></header> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <blockquote><p><i><span style="font-weight: 400;">Love is a bohemian child,<br /> </span></i><i><span style="font-weight: 400;">It has never, never known the law,<br /> </span></i><i><span style="font-weight: 400;">If you don’t love me, I love you;<br /> </span></i><i><span style="font-weight: 400;">If I love you, watch out! </span></i></p> <p><span style="font-weight: 400;">– Translated from George Bizet’s </span><i><span style="font-weight: 400;">Carmen</span></i><span style="font-weight: 400;">, “Habanera”</span></p></blockquote> <p><span style="font-weight: 400;">No silent film was ever truly silent, and none is more boisterous than Ernst Lubitsch’s </span><i><span style="font-weight: 400;">Carmen </span></i><span style="font-weight: 400;">(1918). Anything starring Pola Negri is loud, vivacious and colourful. She bursts onto the scene and immediately captivates every man around her. Her smile is wide and mirthful, her spirit rapturous. She seems to delight in every sensuality; brushing against the soldiers with charged passion, she takes one into her hypnotic gaze, using a rose as a tactile tease. Her voice (though we cannot hear her) seems loud and ringing: her mouth moves fast as though her energy cannot be contained; her movements are sharp and playful. After more than 100 years, her presence is still so strong it seems to reach through the screen.</span></p> <p><span style="font-weight: 400;">Negri was a Polish screen and stage actress who became internationally renowned as a femme fatale and tragedienne.<sup class='footnote'><a href='#fn-49491-1' id='fnref-49491-1' onclick='return fdfootnote_show(49491)'>1</a></sup> In 1918 she had just begun her new life in Germany as a silent film actor, and in 1922 would become the first European actress ever to be signed by Paramount. Her career would afford her a reputation as a star and sex symbol from Europe to America. Born Barbara Apolonia Chałupiec in Poland to a single mother, she was the only surviving child of three and grew up in abject poverty, later taking her stage name with inspiration from Italian poet Ada Negri. She would always claim that her mother came from impoverished Polish nobility. Her father was a Romani man (better known in English as a “Gypsy”, though this word is considered pejorative) born in Slovakia, a traveller and a tinsmith – a traditional Roma profession. A passionate man who wanted freedom for Poland, he was arrested for revolutionary activities by the Russian authorities and deported to Siberia when Negri was very young, and she would not see him again. </span></p> <p><span style="font-weight: 400;">From her father, Negri can trace her Romani heritage. The Roma are a travelling people with ancient roots as a stateless nation from Northern India. They speak Romani – a language similar to Hindi and Punjabi – and they have migrated across Europe and the world. As a travelling people, Roma frequently clash with the structure of the society around them and are noted for not assimilating, which is often cause for conflict with the locals.<sup class='footnote'><a href='#fn-49491-2' id='fnref-49491-2' onclick='return fdfootnote_show(49491)'>2</a></sup> Indeed, any group that does not fit into European imperial hegemony will be maligned and othered, and eventually criminalised. The Roma’s proud and distinctive culture earns them both admiration and ire. Their traditional clothing inspired the appropriative bohemian fashion movement in France; their music is the root of the Spanish flamenco; their language punctures English with words like ‘pal’, ‘chav’ and ‘posh’ having Romani origin. They are usually portrayed simultaneously as exotic and sensual (especially women) but also inherently criminal, backstabbing, untrustworthy and of dubious morality.<sup class='footnote'><a href='#fn-49491-3' id='fnref-49491-3' onclick='return fdfootnote_show(49491)'>3</a></sup> These perceived characteristics, though they are incredibly defamatory, form a literary motif that is evoked uncritically in Prosper Mérimée’s 1845 novella, </span><i><span style="font-weight: 400;">Carmen</span></i><span style="font-weight: 400;">, and its many adaptations.</span></p> <p><span style="font-weight: 400;">Yet the theatricality of Lubitsch’s </span><i><span style="font-weight: 400;">Carmen </span></i><span style="font-weight: 400;">is delightful to behold. Harry Liedtke as Don José is frustratingly stupid and macho, but also anxious and devoted. His exaggerated frown and clutching desperation can be felt through his movements and unblinking gaze. He is spun in circles by the headrush he gets after meeting Carmen for the first time. Immediately besotted, though too emotionally stunted to realise this at first, he acts out of intense passion mixed with self-loathing rage, all directed simultaneously towards his fascination for Carmen. Carmen, the best dancer in the village, a “wildfire”, uses her sensuality to ensnare every man in town. There is an implied supernatural element to her seductiveness: we are told at the start of the film of “Gypsy magic, Gypsy lore, Gypsy blood in days of yore,” and at various points she engages in the magical practices of palm-reading and molybdomancy (divination by melted lead, dropped in cold water). As a caricature of a Romani woman, Carmen is simultaneously desirable and dangerous. We are told she is “in league with the Devil himself,” a constant temptation for the supposedly noble, enlightened, European soldier of the empire – a threat to Western civilisation itself. However, this is complicated by the fact that Negri is of Roma heritage; she embraces this portrayal of a licentious “Gypsy” who cares little for the silly European men around her finger, and this exerts a certain power and confidence.</span></p> <p><span style="font-weight: 400;">When she meets Escamillo (Leopold von Ledebur), the brave and charismatic bullfighter in the film’s final act, Carmen expresses true desire for the first time. She seems to break out of her role as a one-note caricature, and the tempestuous storm within her is finally still and calm. They lock eyes with resounding ferocity, and seem to mutually bewitch one another. Unlike her pathetic, spineless, lovesick soldier, Escamillo is masculine and assured; he is everything she desires. He wants her, but is not weak at the knees for her, and their dynamic is balanced through reciprocity. For the first time, Carmen is restrained in her affections, gently kissing his hand and forehead before he leaps into the bullfighting ring. Of course, her jealous, childish soldier kills her out of spite, a punishment for daring to be free and untameable. In the end, it is Carmen’s wild spirit that emerges victorious, for it did not buckle under the pressure of patriarchy or empire.</span></p> <p><b><i>Carmen</i></b><span style="font-weight: 400;"> (1918 Germany 80 mins)</span></p> <p><b>Prod Co:</b><span style="font-weight: 400;"> Projektions-AG Union, UFA </span><b>Prod:</b><span style="font-weight: 400;"> Paul Davidson </span><b>Dir:</b><span style="font-weight: 400;"> Ernst Lubitsch </span><b>Scr:</b><span style="font-weight: 400;"> Grete Diercks, Norbert Falk, Hanns Kräly </span><b>Phot:</b><span style="font-weight: 400;"> Alfred Hansen </span><b>Art Dir:</b><span style="font-weight: 400;"> Karl Machus, Kurt Richter </span><b>Cos Des:</b><span style="font-weight: 400;"> Alex Hubert</span></p> <p><b>Cast:</b><span style="font-weight: 400;"> Pola Negri, Harry Liedtke, Leopold von Ledebur, Grete Diercks, Sophie Pagay, Paul Biensfeldt</span> <span style="font-weight: 400;">Paul Conradi, Max Kronert, Margarete Kupfer</span></p> <h3><b>Endnotes</b></h3> <div class='footnotes' id='footnotes-49491'> <div class='footnotedivider'></div> <ol> <li id='fn-49491-1'> Mariusz Kotowski, “With Lubitsch in Germany” in </span><i><span style="font-weight: 400;">Pola Negri: Hollywood’s First Femme Fatale </span></i><span style="font-weight: 400;">(Lexington: University Press of Kentucky, 2014), p. 23-36. <span class='footnotereverse'><a href='#fnref-49491-1'>↩</a></span></li> <li id='fn-49491-2'> Ian F. Hancock, </span><i><span style="font-weight: 400;">We Are the Romani People</span></i><span style="font-weight: 400;"> (Hatfield: University of Hertfordshire Press, 2007). <span class='footnotereverse'><a href='#fnref-49491-2'>↩</a></span></li> <li id='fn-49491-3'> Ken Lee, “</span><a href="https://www.jstor.org/stable/23166537"><span style="font-weight: 400;">Orientalism and Gypsylorism</span></a><span style="font-weight: 400;">,” </span><i><span style="font-weight: 400;">Social Analysis: The International Journal of Social and Cultural Practice</span></i><span style="font-weight: 400;">, Volume 44, no. 2 (November 2000): p. 129-156. <span class='footnotereverse'><a href='#fnref-49491-3'>↩</a></span></li> </ol> </div> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.0"; fjs.parentNode.insertBefore(js, fjs); }(document, "script", "facebook-jssdk"));</script><div class="cb-facebook"><div class="fb-like" data-href="http://www.sensesofcinema.com/2024/cteq/carmen/" data-layout="box_count" data-action="like" data-show-faces="false" data-share="false"></div></div><div class="cb-pinterest"><script type="text/javascript" src="//assets.pinterest.com/js/pinit.js" async></script> <a href="//pinterest.com/pin/create/button/?url=http%3A%2F%2Fwww.sensesofcinema.com%2F2024%2Fcteq%2Fcarmen%2F&media=http%3A%2F%2Fwww.sensesofcinema.com%2Fwp-content%2Fuploads%2F2024%2F11%2FCarmen-lead.jpg&description=%3Ci%3ECarmen%3C%2Fi%3E" data-pin-do="buttonPin" data-pin-config="above" target="_blank"><img src="//assets.pinterest.com/images/pidgets/pin_it_button.png" /></a></div><div class="cb-google cb-tall"> <div class="g-plusone" data-size="tall"></div> <script type="text/javascript"> (function() { var po = document.createElement("script"); po.type = "text/javascript"; po.async = true; po.src = "https://apis.google.com/js/plusone.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(po, s); })(); </script></div><div class="cb-twitter"><a href="https://twitter.com/share" class="twitter-share-button" data-dnt="true" data-count="vertical">Tweet</a><script>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');</script></div><su:badge layout="5"></su:badge> <script type="text/javascript"> (function() { var li = document.createElement("script"); li.type = "text/javascript"; li.async = true; li.src = ("https:" == document.location.protocol ? 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class="attachment-cb-360-240 size-cb-360-240 wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2019/07/ishtar-360x240.jpg 360w, http://www.sensesofcinema.com/wp-content/uploads/2019/07/ishtar-300x200.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2019/07/ishtar-600x400.jpg 600w" sizes="(max-width: 360px) 100vw, 360px" /></a></div> <div class="cb-meta cb-article-meta"> <h4 class="h3 cb-post-title"><a href="http://www.sensesofcinema.com/2019/cteq/ishtar-elaine-may-1987/"><em>Ishtar</em> (Elaine May, 1987)</a></h4> <div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/brad-weismann/" title="Posts by Brad Weismann" class="author url fn" rel="author">Brad Weismann</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="" datetime="2019-07-10">July 2019</time></div></div> </div> </li> </ul></div> 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