# I, Mary MacLane/Chapter 45

To-morrow
FOR twenty-five cents and one hour and twelve minutes one may get in this present detailed world a bit of unforgettable complete enchantment.
So I found to-day in a moving-picture theater. A Carmen, the real Carmen of Prosper Mérimée glowed, vibrated, lived and died with passion on a white screen.
Of all prose writers I know Prosper Mérimée is the one—(intimate and sensitively alive as if I had lain against his shoulder as I read 'La Guzla' and 'Venus d'Ille'—he melts into my veins—)whom I would most eagerly see interpreted. Of all fiction characters—if she is fiction—the poignant Carmen is the one I would most eagerly see realized.
Carmen is one of those fictions which are truer to life than life is. Such fiction-things are all around, touching everybody: the spoken truths which grow false at being spoken: the thought lies which turn to truths the moment they touch words.
I have heard Carmen sung and seen her filmed by the lustrous Farrar, and I have seen her play-acted by some lesser lights. But Bizet's opera, a sparkling music-storm, creates a sonant objective Carmen, a beautiful bloody lyric, remote from Mérimée who ​made a Carmen intensely peculiar to his own subjective art. And the stage-Carmen has always been a stage-Carmen waiting in dusty, draughty wings for her cues. It remained for the cinematograph, which is a true literal mirror of human expression, to make Carmen burst into violent physical life.
But it was less the scopes of the films which made Carmen animate than it was the virile woman who played her. It was acting—but acting in the sense of losing and sinking and saturating and dissolving herself in another woman's temperament: and by it she achieved some strong sword, keen shadings of the Carmen character—to the hair's-breadth.
And she looked like Carmen. It was not important to the vigorous fire of her acting but it made bewitchment in the portrait. No one I have before seen play Carmen fitted the elusive points of her description.
'Her eyes were set obliquely in her head but they were magnificent and large. Her lips, a little full but beautifully shaped, revealed a set of teeth as white as newly-skinned almonds. Her hair was black with blue lights on it like a raven's wing, long and glossy. To every blemish she united some advantage which was perhaps all the more evident by contrast. There was something strange and wild about her beauty. Her ​face surprised you at first sight but nobody could forget it. Her eyes especially had an expression of mingled sensuality and fierceness which I had never seen in any human glance. Gypsy's eye, wolf's eye'—
This (from the English translation of the story by Lady Mary Loyd) fitted to a charm the pictured vision of the foreign-looking woman—her name is Theda Bara—who flung a throbbing Carmen across the screen with indescribable heat and color and luster. It was comparable only to the muscular force of the original which that Mérimée rubs nervously and heavily into one's thoughts. I felt it someway satisfyingly unbelievable—an illusion more actual than actuality: a dream which outbore fact.
I suppose there's no other character like Carmen for flaming roundness in all fiction: filled with her treacheries yet purely true to herself, without fear, utterly game: fierce, coarse, ruthless and reckless yet wrapped in a maddening unwitting pathos: strong and bold and cruelly poised yet capable of sudden complete surrender: ignorant and abandoned and criminal in every instinct yet beyond every littleness, every pettiness: sensual yet contemptuous and indifferent in it, a woman of essential chastity. Carmen is the one criminal conception in whom there is no vulgar evil, no personal maculateness though ​wrecking all the wildness of her temper in her tempestuous days'-journeys. She is a romantic murderous appeal to human superjudgment. It was this isolate quality of her which Theda Bara gave out with mystic masterful art. She gauged the personal odors and blood-pressures of Carmen. She slipped into Carmen's skin and first sucked in and then breathed out the irresistible menacingness and arresting ingruination of her beautiful diabolic spirit. A little feverish artistic thrill ran in my veins as I sat in the dark watching.
'She had thrown her mantilla back,' says Don José in the translated tale, 'to show her shoulders and a great bunch of acacias that was thrust into her chemise. She had another acacia bloom in the corner of her mouth and she walked along swaying her hips like a filly from the Cordova stud farm. In my country anyone who had seen a woman dressed in that fashion would have crossed himself. In Seville every man paid her some bold compliment on her appearance. She had an answer to each and all with her hand on her hip—"Come, my love," she began again, "make me seven ells of lace for my mantilla, my pet pin-maker." And taking the acacia blossom ​out of her mouth she flipped it at me with her thumb so that it hit me just between the eyes. I tell you, sir, I felt as if a bullet had struck me.'
This first meeting of Carmen with the dragoon was pictured in a brilliant hot-looking plaza as if before the cigarette factory in Seville. This woman in throwing the flower at the soldier expressed wonderfully in one fleet moment, by hand and lip and eye, the savage sordid poetry and passionate freedom—that unearthly fragrance—which is Carmen.
The film version followed the scenes of the opera rather than the story, which took nothing from the headlong truth of the central figure.
But no picturing can equal the star-clarity of Mérimée's prose in Carmen's death-scene—a thing of a piercing pathos comparable to nothing I know in writing.
'After we had gone a little distance I said to her, "So, my Carmen, you are quite ready to follow me, isn't it so?"
She answered, "Yes, I'll follow you to the death—but I won't live with you any more."
We had reached a lonely gorge. I stopped my horse.
"Is this the place?" she said.
And with a spring she reached the ground. ​She took off her mantilla and threw it at her feet, and stood motionless with one hand on her hip, looking at me steadily.
"You mean to kill me, I see that well," she said. "It is fate. But you'll never make me give in."
I said to her: "Be rational, I implore you; listen to me. All the past is forgotten. Yet you know it is you who have been my ruin—it is because of you that I am a robber and a murderer. Carmen, my Carmen, let me save you, and save myself with you."
"José," she answered, "what you ask is impossible. I don't love you any more. You love me still and that is why you want to kill me. If I liked I might tell you some other lie, but I don't choose to give myself the trouble. Everything is over between us two. You are my rom and you have the right to kill your romi, but Carmen will always be free. A calli she was born and a calli she'll die."
"Then you love Lucas?" I asked.
"Yes, I have loved him—as I loved you—for an instant—less than I loved you, perhaps. And now I don't love anything. And I hate myself for ever having loved you."
​I cast myself at her feet, I seized her hands, I watered them with tears, I reminded her of all the happy moments we had spent together, I offered to continue my brigand's life, if that would please her. Everything, sir, everything—I offered her everything if she would only love me again.
She said: "Love you again? That's not possible. Live with you? I will not do it."
I was wild with fury. I drew my knife. I would have had her look frightened and sue for mercy—but that woman was a demon. I cried: "For the last time I ask you, Will you stay with me?"
"No! No! No!" she said and she stamped her foot. Then she pulled a ring I had given her off her finger and cast it into the brushwood. I struck her twice over—I had taken Garcia's knife because I had broken my own. At the second thrust she fell without a sound. It seems to me that I can still see her great black eyes staring at me. Then they grew dim and the lids closed.—For a good hour I lay there prostrate beside the corpse.'—
No play-acting could make the scene so pregnant and palpitant with human-stuff and alive in vision ​as that translucent jewel-prose of Mérimée. But so close as one art may counterfeit another, by drinking-up the fiery spirit essence which informs it, so close did this actor-woman compass and consummate the strong delicious unafraidness of Carmen's death-hour.
The scene was staged as in the opera—a court outside the bull-fighting arena, with Carmen richly bejeweled and dressed in the lacy smart-lady clothes of the Toreador's mistress. But that was nothing. The gypsy wildness of the written scene was in every insolently splendid bodily movement and each fateful loveliness of eyes and lips of the fulfilling Theda Bara.
I can still see the dark drooping-lidded dying eyes. I sensed Carmen in conscious chambers of my Mind. I felt her in my throat. It was Carmen herself living and breathing near me, the fearsomely adorable Carmen who has haunted the edge of my thoughts since I first read her.
There are some odd crudenesses in Theda Bara's acting which had the effect of making her un-stagey, unobvious. They made her humanly vibrant. And they added a devilish wistfulness to her Carmen and a surprising feel of genuineness to the whole masque.
The actor's art brings out the romance which is ​in human bone-and-flesh. And Theda Bara seems someway a master of its physical and spiritual subtleties. She expressed the swift emotion of Carmen by ringing slightest possible changes on her own virile and mobile body: insolence by kimboing an elbow: cruelty by the twitch of a wrist: sensual feeling by moving a knee and an ankle: murder in the twisting of her waistline: a fleet repressed animal tenderness by a posture of shoulder and breast: a heartbreak of mirth in her careless vivid lips: the desperate bravery of that death by the tilt of her potent chin: the hurricane-freedom of Carmen's soul by lifting her face and her arms in the night wind. She worked with an exquisite muscular sincerity, as if she strongly gave her best of brain and blood and mettle to the part.
I looked at photographs of her which decorated the lobby of the theater. She looks a beautiful and earnest-seeming girl of a mental rather than a physical caste, with melancholy dark eyes, a childlike mouth-profile and the slim partrician hands of a Bourbon duchess. She will live in my warmed memory as the star of all the Carmens.
A flood of life and color goes into the staging of a Carmen film: a throng of attractive faces and bodies of people, women and men and lovely children, move through it in a pulsating gay pageant: flowers ​and Spanish prettinesses of costume and country-side and street and café are all over it, bright as life: and sweet winds blow in it and leaves and grasses wave and flutter, and the sunshine melts and mellows the air—all as if one saw it thrice-enlarged through windows. It is not poetry—it is not in itself any art, but a dear delectable counterfeit of it, a miracle-taste of the outer-looking madly-peopled world.
For me it meant my long-adored Merimée given sudden brief life, the haunting Carmen turned into flesh: a spell of silent human-music which glowed and burned upon me like gentle fire.
Often is God thus capriciously kind to me.