This movie was intended to be Chaplin’s spoof on both Bizet’s famous opera Carmen and a popular contemporary film of the opera. Sadly, it was tampered with after Chaplin left Essanay; its two reels were expanded to four, via a dreadfully unfunny subplot involving cross-eyed Ben Turpin as the leader of a gypsy gang.
Thus, it’s difficult to judge what Chaplin’s own version would have amounted to. However, based on the extant footage here, parody isn’t primary upon Chaplin’s mind. More likely, Chaplin intended to get laughs by placing his usual stomach-kicking slapstick (and there are stomach kicks galore here) within the context of a high-culture opera.
As such, the quality of the comedy is rather in-and-out. Edna Purviance makes a plausibly seductive Carmen next to Chaplin’s Don Jose, and when the comedy fits (as with an extended sword fight between Don Jose and a gypsy), it fits perfectly. On the other hand, Chaplin’s usual comedy method of transposition doesn’t always work here. Two examples: When Carmen lies down in Don Jose’s lap to woo him, Don Jose unthinkingly rests his elbow on her chest while carrying on in conversation. That’s funny. But later, when Don Jose kills a man, he casually rubs the man’s arm for any faint sign of life and then turns the rubbing into an all-out massage. What’s the point of massaging a dead man?
The massage gag underlines the Mel Brooks-like “We’re only kidding, folks” aspect of the parody, as does the final scene, where Don Jose furiously murders Carmen with his dagger and then stabs himself as well. At first, the scene is played straight, and Chaplin plays the rage-and-remorse so plausibly, you forget you’re watching a comedy. Then, the movie’s ending takes great pains to show Don Jose and Carmen springing back to life, with Don Jose showing us that his dagger is made of rubber, and with everyone laughing cutely for the fade-out. Of course, one doesn’t expect a real murder in a Chaplin farce, but one doesn’t expect a cop-out ending, either.
The few seconds prior to movie’s end showed how well Chaplin could truly play drama. A few years and studios later, he’d be doing this sort of thing in earnest.