Volume II: Filmography

CARMEN

May 27, 1913 (Tuesday)

Length: 3 reels

Character: Drama

Director: Lucius J. Henderson

Scenario: From Prosper Mérimée's story (which also furnished the plot for the opera of the same name by Bizet)

Cast: Marguerite Snow (Carmen), William Garwood (Don José), William Russell (Escamillo, the toreador), Francelia Billington (Don José's sweetheart at home, Micaëla), Burton Law, Jean Darnell, Peggy Reid (Mercedes)

Location: Southern California

Notes: 1. See note under the Carmen listing for March 30, 1912, for an anticipated two-reel Thanhouser version that was never completed or released. It is possible that the May 27, 1913 version, for which most scenes were filmed in California, incorporated some footage from the 1912 version, which was filmed in the East. This would explain the almost a year in the process of production used in Thanhouser advertising. 2. Louis Reeves Harrison, a reviewer in The Moving Picture World was impressed with Francelia Billington (who was misidentified in the review as Miss Billings), and commented upon her acting, although she flashed on the screen but for a moment. This review was noticed by Charles J. Hite, who transferred her from Thanhouser to Majestic, where she became an important player and, at the outset, was featured as one of three Majestic stars (with William Garwood, also transferred from Thanhouser, and Fred Mace, a comedian). This review is quoted in the narrative section of the present work. 3. An expanded story by Leona Radnor, based upon this film, appeared in The Motion Picture Story Magazine, June 1913.

BACKGROUND OF THE SCENARIO: Carmen, a story of the life of a Spanish gypsy, was published in a collection of stories in Nouvelles in 1852. Later it achieved great fame as the subject of Bizet's opera of the same name. The work was by Prosper Mérimée, born and educated in Paris, who pursued law and a literary career. He wrote plays as well as short stories for publication in magazines such as Revue de Paris and Revue des Deux Mondes, two publications that were especially well known in their time and were published in Spain and England as well as France. Mérimée was at one time the inspector general of historical monuments and a senator, while at the same time maintaining his status as an important writer. His death occurred in Cannes.

ARTICLE, The Photoplay Magazine, May 1914:

The following is an excerpt from an article by Jean Darnell, in which she told of her most exciting experiences as a film actress: Gladiatorial combats in the Roman arena were undoubtedly thrilling, but they never eclipsed a movie picture actor's life and death chances to obtain thrills. My career has been one thrill after another - every one a hair-raising affair. When Thanhouser produced Carmen, I played Cigaret in the cast, and had to go into a real Mexican arena and make love to a matador. I had just singled out my lover when an infuriated bull singled me out and made a rush, head down and bellowing. It looked like the end, but in my panic I turned a queer somersault over the fence just as the bull struck a few inches below my fingertips. There were Roman thrills all through this film. In the fight scene, where I had a dagger fight with Carmen, I lunged at Marguerite Snow. She was supposed to catch my arm, but failed, and I sliced her arm from elbow to wrist. We washed the blood off, bound it in court plaster and went on with the play.

SYNOPSIS, The Moving Picture World, May 31, 1913:

Don José, the hero of the famous book by Prosper Mérimée and Bizet's celebrated opera, was born in the Basque Provinces of Spain. He was a young, good looking peasant, devoted to his old mother, and greatly in love with his pretty sweetheart, Mercedes. The plans of José and Mercedes for an early marriage were rudely dissipated by the news that the young man had been drafted for service in the Spanish army. José comforted his mother and Mercedes, telling them that he would soon return and they would never be separated again. The young man proved to be a good soldier, and in a short time was made a corporal. His commanding officer, who had great confidence in the new corporal's ability and trustworthiness, sent him with a detachment of soldiers to preserve order in a certain unruly quarter of the town.

José was strolling by a cigar factory one day, when some of the girls employed in the establishment came out. One of them, a beautiful brunette called Carmen, held a red rose between her teeth, and as she passed the young officer, she cast a coquettish glance at him, and then, taking the rose, tossed it to him. He let it fall to the ground unheeded. Furious, she ran off, followed by the mocking laughter of her companions. But José was more attracted by the girl than his manner had indicated. When he though himself unobserved, he picked up the rose and pressed it to his lips. Carmen, from a distance, saw the action and smiled. Almost before the soldier realized it, he was completely infatuated with the fascinating cigar maker. Gradually, though his better nature struggled against it, he forgot about his mother and Mercedes, his faithful sweetheart. Then the moment came when he had to choose between his loyalty as a soldier and his devotion to Carmen.

A dispute arose in the factory between Carmen and Michele, another cigar girl. They fought, but the struggle was of short duration, and soon Michele lay on the ground, a dagger wound in her side. The soldiers rushed into the factory, and José, much against his inclinations, made the girl a prisoner and took her before his commanding officer. Carmen was committed to José's charge until she could be turned over to the proper authorities. And then, the girl, confident of her power, exerted all her wiles to make the young man forget his oath to his country. She succeeded and José let her escape, but at the cost of dishonor to himself. Then José was cast into prison, Carmen tricked his jailers and José escapes. They fled together into the mountains, where they were welcomed by the gypsies, Carmen's people. There José led a life that was far different from the peaceful, religious atmosphere of his native village, and the stirring martial days when he was a soldier. The gypsies were smugglers and he became one of their band. The uniform of the soldier, which had been a familiar and welcome sight to him in former days, was an object of fear and hate, now that he was a violator of the laws, not a defender.

José's mother, in her quiet home in the mountains, was dying, mercifully unaware of her son's disgrace. Just before she passed away she gave the cross she had worn all her life to the weeping Mercedes, José's former sweetheart, who still loved him, and told her to give it to José with her blessing. Mercedes set out on her quest, but to her surprise and grief found that José was no longer an honored soldier of the Spanish king, but a fugitive from justice. Her search seemed hopeless, for none knew where he had gone. Although an outlaw, José was not unhappy, for Carmen made him think that he stood first in her affections, but when she met Escamillo, the noted toreador, her attitude changed. The idol of Spanish populace was a far more attractive figure to the beautiful gypsy than a fugitive soldier, and José soon found himself supplanted by the toreador. Frantic, he reproached Carmen, but she laughed at him.

Escamillo, desirous of exhibiting his professional skill to Carmen, invited her to be present at a bull fight. The girl, sneering scornfully at the jealous protestations of José, accompanied the toreador to the arena, where the bull fight was to take place. Mad with rage José followed them. Carmen watched the bull fight with absorbed interest, and blew kisses to Escamillo as he bowed low to the plaudits of the crowd. It was her farewell to the toreador, for at that moment, José, leaping forward, buried his knife in her bosom. The soldiers crowded around José and made him a prisoner. He gazed in a dazed manner at the dying Carmen, then feeling a gentle touch on his arm, he turned and looked into the eyes of Mercedes, his faithful sweetheart. Pityingly she told him of his mother's death, and gave him the cross and her message. José bowed his head in sorrow and remorse. He had forsaken the ones who had loved him for a woman who brought him to disgrace and death. Silently he turned, surrounded by his captors, and made his way toward the prison.

REVIEW, The Morning Telegraph, June 1, 1913:

The Thanhouser presentation of Carmen in pictures has something more and something less than the stage production. What the picture production may lack in general attributes of voice and color is made up in a measure by the presence of reality in place of artifice in the stage settings. The production has been done in three reels and is fairly satisfactory. The work of Marguerite Snow as Carmen improves noticeably as the picture progresses. After the Carmens of the grand opera stage it must be admitted that she is somewhat slight of frame, and the passionate blood of the Spanish girl does not course quite strongly enough through her veins. In the second and third reels there is a spirit of abandon noticeable in her work that does not exist to any great extent in the first reel; nevertheless, the final summary of her interpretation of the role is satisfactory. One of her best scenes is the foretelling of her fortune in the cards. William Garwood as José has made a success of the part. The role of Mercedes has also been very acceptably played. The bullfight is evidently a series of views taken on several different occasions. Regardless of the fact that the undesirable attributes to the picture have here been drawn attention to, what remains of the production - and that is nearly all of it - is very satisfactory in effect.

REVIEW by Louis Reeves Harrison, The Moving Picture World, May 10, 1913: This review is reprinted in the narrative section of the present work.

REVIEW, The Moving Picture World, May 31, 1913:

A three-reel version of the famous stage production. Marguerite Snow appears as Carmen, William Garwood is José and William Russell as the toreador. All of the usual scenes are given, including the gypsy camp, smuggling, retreat, cigar factory, bull fight, etc. The costume is carefully attended to and on the whole the production is a very creditable one. There is perhaps not quite so much of the true Spanish fire as might be expected in the characterizations, but, accompanied by the opera score of Carmen, this offer proved very pleasing.

REVIEW, The New York Dramatic Mirror, June 18, 1913:

Probably three-fourths of the people who will witness this three-reel feature picture, adapted from Carmen, are acquainted with the story of Carmen, and have formulated some ideas and opinions of just how it should be staged and played. Certainly, the reviewer has, and for that reason he is at somewhat of a disadvantage of giving a clear, unbiased criticism of the piece. For instance, we have always pictured Carmen as one of those physically alluring, vigorously passionate creatures wholly Latin in feature and expression, and we have associated with the play an abundance of fire, vehement motives, and an overpowering air of tragedy. Yet these characteristics, so essential to the proper impression, are largely absent. Marguerite Snow gives a very intelligent interpretation of Carmen, and she has a winning sweetness; her intelligence, however, seems to be in her disfavor; one who is apparently swayed mainly by the heart, who displays complete abandon, makes the ideal Carmen. William Garwood is seen as José, the victim of a fickle girl's love. He brings into the play a pleasing personality and his work is mostly acceptable. Concerning the atmosphere the only criticism to offer is that there is not sufficient of it. There are several excellent bullfight scenes, but even here the incongruity of several men in modern dress somewhat spoils the effect.

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May 30, 1913 (Friday)

No release because of three-reeler of preceding Tuesday, noted a Thanhouser advertisement.

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