C'est l'amour::That's love

love	love	l'amour	il vient	l'oiseau
that's void	you want	que nul	tu crois	battit
and it is	you believe	et c'est	tu veux	l'amour
if love's	it comes	s'il lui	l'amour	tu ne l'attends
nothing's done	all around	rien n'y fait	il n'a jamais	tout autour
there	si tu ne	l'oiseau	you don't wait	il vient
a word	m'aimes	battit	love	tu crois
and it is	si je t'aime	l'amour	beat	tu veux
nothing	love	tu ne l'attends	the bird	l'amour
love	it comes	tout autour	l'oiseau	it is nothing
l'amour	if you don't	all around	battit	love me

Carmen (1984) Dir. Francesco Rossi	Carmen Jones(1954) Dir. Otto Preminger
she is a gypsy with the obvious attributesand a nice line in prediction	she is a down-home southern gal whoaugures with a buzzard feather and thenumber nine
she has wild hair that is pinned backwith a single flower behind the ear	she has tidy hair but she never combs it
she rolls tobacco on her thighs	she sews parachutes (we never see this)
she wears a wide skirt that hitches upwhen she collects firewood or enticesDon Jose to have sex with her	she wears a straight red skirt which showsher openness at the front when joe bindsher with his army belt
her underwear is a camisole and petticoat	she wears a black bra and zebra-stripedpanties

Carmen Jones recontextualizes the music of Bizet to create the story of the black femme fatale who dies at the hands of her lover. Though this is a Hollywood musical, it seems to break from the norm of the genre. For instance, all of Carmen's solos take place at the beginning of the movie when in pursuit of Joe, the only man on the base who does not notice her. Her character of roadside woman, attributed early on in the movie, requires that she keeps her arias to herself. Cindy Lou, Joe's first love, gets more than a few chances to express herself vocally.

When your lover decides to fly there ain't no door that you can close she just peck you a quick goodbye and flicks the salt from her tail and go if you listen then you get taught and here's your lesson for today if I chase you and you get caught then I tell you that's the end of you that's love that's love you go for me and I'm taboo but               if               you're               hard               to

Interestingly, Carmen and Joe sing their duet late in the film just before her death. This duet becomes the battle of her staccato reply to his melodious pleading, yet she wins hands down until she is physically restrained. Compare this outcome to the harmonious duet that Joe sings with Cindy Lou where they plan to marry and have their honeymoon on his twenty-four hour pass. Carmen and Joe's love for each other is rarely expressed, and their shared moments are just as fleeting as the twenty-four hour pass he never gets to use.

In the last scene, where Joe forces Carmen into the janitor's cupboard, Carmen is finally prevented from flying the roost. Here, the physicality between the lovers reestablishes the violence (Rippy 26) that has been part of this short-lived relationship. This lack of romantic unity at this stage of the story confronts the trope that the lovers' embrace in the final reel of the musical signals the start of a relationship, not the end of one.

Carmen arrives at work justin time for lunch. She is barelydressed for the war effort in ared skirt and a black gypsy-like blouse. The blouse has lacydetachable sleeves, but moreabout that later. She rejectsthe attention of the men whowant to go dancing with her. She sings about the vagariesof love: "ou go for me andI' taboo, but if you're hardto get I go for...