X
- 1954
- Approved
- Twentieth Century Fox
- 1 h 45 m
- 1954
- Approved
- Twentieth Century Fox
- 1 h 45 m
Summary Contemporary version of the Bizet opera, with new lyrics and an African-American cast.
Directed By: Otto Preminger
Written By: Oscar Hammerstein II, Harry Kleiner, Prosper Mérimée
- 1954
- Approved
- Twentieth Century Fox
- 1 h 45 m
- 1954
- Approved
- Twentieth Century Fox
- 1 h 45 m
Carmen Jones
65
User Score
Available after 4 ratings
tbd
Where to Watch
Summary Contemporary version of the Bizet opera, with new lyrics and an African-American cast.
Directed By: Otto Preminger
Written By: Oscar Hammerstein II, Harry Kleiner, Prosper Mérimée
Where to Watch
Top Cast
Metascore
Generally Favorable
Based on 10 Critic Reviews
65
50% Positive
5 Reviews
5 Reviews
50% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Metascore
Generally Favorable
Based on 10 Critic Reviews
65
50% Positive
5 Reviews
5 Reviews
50% Mixed
5 Reviews
5 Reviews
0% Negative
0 Reviews
0 Reviews
Preminger strips the musical of all excess and frills. He creates an austere, depoeticized, anti-lyrical world in which nothing obstructs his camera's detached recording of the action. The great themes of Preminger's oeuvre are obsession and the conflict between freedom and repression, themes which are central to Carmen Jones.
Preminger directs with a deft touch, blending the comedy and tragedy easily and building his scenes to some suspenseful heights. He gets fine performances from the cast toppers, notably Dorothy Dandridge, a sultry Carmen whose performance maintains the right hedonistic note throughout.
Preminger's heavy-handed adaptation of a Broadway triumph combines gorgeous music with risible lyrics by Oscar Hammerstein II; the project is saved by a terrific cast.
This movie is terribly uneven -- best when it's gaudy and electric, worst in its more realistically staged melodramatic moments, especially toward the end. Overall, it's an entertaining show.
The 1954 film version of Oscar Hammerstein's all-black Broadway musical now feels like a relic from the gruesome social straitjacket that was segregation; every frame, you feel, is freighted with the tension imposed by the never-appearing white folks. It was, however, laudable in its desire to showcase the talents of African-American performers who were denied opportunities in Hollywood.
The somewhat heavy-handed direction and the ultimately two-dimensional characters leave you admiring the workmanship without plucking at the necessary emotional/romantic heart-strings.
There is nothing wrong with the music—except that it does not fit the people or the words. But that did not seem to make much difference to Mr. Hammerstein or Mr. Preminger. They were carried away by their precocity. The present consequence is a crazy mixed-up film.
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