Carmen Jones
あらすじ
No synopsis available.
予告・トレイラー
作品考察・見どころ
AIが作品の魅力を深く読み解いています
興行成績
製作費: $800,000 (1億円)
興行収入: $9,800,000 (15億円)
推定収支: $9,000,000 (14億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
No synopsis available.
AIが作品の魅力を深く読み解いています
製作費: $800,000 (1億円)
興行収入: $9,800,000 (15億円)
推定収支: $9,000,000 (14億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Otto Preminger
脚本: Harry Kleiner / オスカー・ハマースタイン2世
音楽: Georges Bizet
制作: Otto Preminger
撮影監督: Sam Leavitt
制作会社: Carlyle Productions
To be frank, I struggled with this... Dorothy Dandridge is superb and both she and Harry Belafonte belt out Oscar Hammerstein II's lyrical adaptations of George Bizet's rousing comic opera tunefully; but not particularly stylishly. That may have been down to the relocation of the story from elegant 19th Century Seville to gritty 20th century North Carolina via which it loses much of the vigour and vibrancy of the original story. Instead, it depicts more of a tale of the aspirational grind of African Americans against poverty and oppression and so I found that rather hijacked the original sentiment, somewhat. The narrative is also, frequently, very disjointed. It was never meant to be a straightforward love story: "Carmen" isn't actually a very nice woman - and her noble lover "Joe" is really just a means to an end for her, leaving his fiancée "Cindy Lou" (Olga James) left high and dry in what is, essentially, a rather sad love triangle. Otto Preminger certainly went out on a limb with it - the extent to which 1950s America was ready for this was very much a gamble; but that doesn't make the film better than it actually is - a wonderfully erudite comment on social mobility and love in America that uses Bizet as it's vehicle; nothing more nothing less...
