Carmen: A Hip Hopera

I really liked this one. I thought they did a great job of updating the story to the present day in a clever, believable way. I'm not a particular fan of hip-hop, either. There were some really clever lyrics (my favorite was the argument scene), yet the original score does underlie the whole thing. I liked it much better than "Carmen Jones," the 50s version of "Carmen" which degenerates into Broadway schlock at times.

The man who played the evil cop did a really terrific job, and I hear he's usually a singer, not an actor. The supporting roles were really well interpreted and the people who played them well-chosen. I very much enjoyed the fortune teller, who seemed really ominous with his voodoo/Jamaican aura. The leads shined.

My main gripe with the whole thing was the camera work, which was rather distracting at times. For example, there is a meta-commentary at the beginning and end of the movie, a rap done by a woman, and the camera constantly changes angles and splits into multiple images of the artist. I'd have much preferred a straight shot so that I could pay attention to what she's saying and her body language, which were good.

Overall, I loved it and will see it again.

I'm in my 60's and I live far from any exposure to African-American culture. I always found Rap to be pretty annoying. But I stumbled across this on cable, and I really liked it. It helps that "Umbrellas of Cherbourg" is one of my all-time favorite films, and this had a very similar flavor. One refreshing feature of the film was the authenticity of the language. It always irritates me to see black kids in the ghetto (movie version) speaking something that sounds too close to acting-school English. The cast of this fiom, apparently, did not consist of trained actors who enunciated clearly in a ghetto-esque parody, but people who live and talk in that culture all the time, and it sounded real. At the same time, it was not so steeped in arcane under-culture talk that I could not understand it. So, 5 stars out of 5 for overcoming the language problem that mainstream films are so challenged by. I'd have liked more music---quite a bit of the dialogue was spoken in normal conversation---a lot more could have been put to music, since the commitment had already been made to use that device. I think the pace of the musicalized dialogue was very, very well done in terms of matching body language. Nobody seemed uncomfortable with the exchanges, or impatient for the imposed rhythm to catch up with the reaction. A neat job. Overall, this is a finely-tuned, slick vehicle that works. Whatever you think of African Americans or their music or their culture, this is a nice film that will perhaps endear you to this charming entourage.

This movie made me howl with laughter because it was so bad. Bad acting, especially by 'Bouncy' Knowles, bad editing and horrible looking blue screen work. None of the songs were memorable and the 'film' looked like a overlong music video. Robert Townsend did great with Hollywood Shuffle and has gone downhill ever since....give up Robert!

After watching this movie on MTV I came away with one feeling, disappointment. The music is the movie was pretty good, but was lacking a bit in production value. Robert Townsend's direction of the spoken dramatic scenes were very well done, but he tried to be too flashy during the musical numbers. The music should be an extension of the action we see on screen, and should not be cut off from everything else. The music sequences were poorly visualized and at an hour & 20 minutes the movie was just too short. The acting was good, and the story was updated very well. As far as cautionary tales go, this movie was far from the best I've seen, but it was also far form the worst. I give it a 5 out of 10.

Poorly acted, unconvincing "modern" adaption of Bizet's classic opera. Saddled with a two-dollar production look and a cast of (with the exception of Phifer) unprofessional actors. One fairly interesting bit is a few parts which actually set Bizet's music to raps, which only works intermittently. Inferior to both the original and Oscar Hammerstein's similarly overblown 1950s adaption (filmed, if I remember right, memorably by Otto Preminger).

All fans of musicals should avoid it, even though it holds out the promise of being a new type of musical. All fans of hip hop should avoid it, because it forces a cast that is incredibly talented in musical areas to act with hokey dialogue and no direction. It should especially be taken on for taking Mos Def, a genius of lyrics, and making him rap to mediocre lines written by some bozo the clown.

Townsend should really be taken to the cleaners over this, and in the future he should probably be advised to look the other way when offered TV productions with a look like my mama's basement (and she hasn't got one, folks).�