The directorial debut of choreographer Benjamin Millepied starring Paul Mescal and Melissa...
“Carmen” cannot be accurately called a success, but it’s a lot more interesting than most genuine successes.
One example of the latter comes almost a third of the way into the film, where Millepied, who was a principal dancer with the New York City Ballet, reveals that the heavy drama he’s been making is also a dance movie. In the midst of a dramatic scene, people suddenly start waving their arms and leaping, and it’s a surprise but also rather fascinating. From then on, you know a dance might pop up at any time.
But the operatic quality here has nothing to do with songs — there are none — and everything to do with an assumption that love is serious, and dangerous. Still, despite the absence of songs, theresinging in “Carmen.” On the soundtrack, most scenes are underscored by choruses humming or intoning. Sometimes it’s women singing “la la” in high voices, and sometimes it’s men droning in low tones as in a Gregorian chant. This underscoring gives the most neutral of interactions an aura of portent.
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