La verbena de la Paloma (1963) Poster

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7/10
Fun adaptation based on famous Spanish 'Zarzuela' dealing with a little love drama between Julián, an honest typesetter, and 'chulapa' Susana
ma-cortes7 December 2015
La Verbena De La Paloma (The fair of the dove) is an 1894 Zarzuela with a libretto by Ricardo De la Vega and music by Tomás Bretón . The work premiered in Madrid in 1894 and produced a great success for the authors , leading quickly to a debut in South America where it premiered the same year in Buenos Aires . This is the third cinematographic retelling , being exhibited in 1963 , realised by José Luis Sáenz Heredia , produced by Benito Perojo and Cesareo Gonzalez/Suevia Films ; it was starred by a great cast as Concha Velasco , Irán Eory , Vicente Parra y Miguel Ligero Rodríguez . Orchestra direction at charge of Gregorio García Segura, who had opportunity to add musicalization , a musical theme that was used in the final scene . The narrator of the film explains to us that the Madrid of today keeps its old structure . To confirm it , the film begins with a tale based on modern roles , but soon jumps 70 years back into the past and the plot follows the Spanish "Zarzuela" , the most known : "La Verbena De la Paloma" . It concerns about the beautiful brunette Susana (Concha Velasco) and her sister blonde Casta (Iran Eory) , who live with their aunt Antonia (Milagros Leal) , an old little matchmaker , flirt with the apothecary , Boticario Don Hilarión (Miguel Ligero) , a rogue old man who gets his hopes up , not realizing that the two girls just want to have fun playing with him . This game causes Julián's (Vicente Parra) jealousy , always staffed by maternal and adviser Señá Rita (Mercedes Vecino) . After some adventures in the festival , the old man is mocked and love triumphs between Julián and Susana .

It has a prologue and an epilogue in which the same director Heredia gives a praise about the classical characters , stating they are still alive along the time . The staging is very well achieved and we can watch some surprising sequences , as the fight between "Don Hilarion" and "Julian" and the splendid recreation of the old fairground . Lavish and nice production design by the prestigious Enrique Alarcón . Including unforgettable dances and immortal songs such as ¨Donde Vas Con Mantón De Manila¨... It has a superb cast that gets over-the-top performances . There stands out Concha Velasco who sings and dances magnificently and with great slickness . Special mention for Milagros Leal as grumpy , old spinster called aunt Antonia . And , of course , the great Miguel Ligero who steals the show as elderly pharmacist or ¨Boticario¨ , ¨Don Hilarion¨.

There are three cinematic versions of the ¨Dove Fair¨ . It was adapted for the cinema in 1921 by José Buchs . The first premiered in the Circo Price de Madrid , a silent film produced by Atlántida , and directed by José Buchs, it resulted to be a hit smash . This picture was even supported by the same Tomás Bretón . In the decade of the 1930s rekindled a deep interest for the ¨Género Chico¨. Being subsequently directed La Verbena De La Paloma (Paloma Fair) by a big production company , Cifesa , under direction by Benito Perojo (1935) . Made during the Spanish Republic , in black and white with some scenes in color, it was the first Spaniard picture to use Technicolor . It was starred by Raquel Rodrigo and Miguel Ligero . Both of them were shot in studio , while the 1963 rendition was partially shot in outdoors scenarios , being also produced by Benito Perojo and repeating Miguel Ligero . Furthermore , a TV version La Verbena De La Paloma (1996).

This Verbena De La Paloma was well directed by Jose Luis Saenz De Heredia . He was a controversial figure in Spain because of his strong and unabashed support of dictator Francisco Franco . At the beginning his career he was hired by Luis Buñuel , as executive producer , to direct ¨La Hija De Juan Simon¨ (1935) and ¨Quien Me Quiere a Mi¨ . During the Spanish Civil War , Jose Luis Heredia is detained but freed thanks to Luis Buñuel and Santiago Ontañon . Heredia directed various ¨Propaganda films¨ . It is well known the main title ¨Raza¨ written by General Francisco Franco under pseudonym : ¨Jaime Andrade¨ . As Jose Luis became the official filmmaker of the dictatorship , as he writes ¨Escuadrilla¨ (1941) . Posteriorly ,in the 40s , he directs several successful dramas : ¨El Escandalo¨ (43) based on Pedro Alarcón novel , ¨Mariona Rebull¨(1947) based on Ignacio Agusti book , ¨La Aguas Bajan Negras¨ based on Armanado Palacio Valdes , ¨El Destino Se Disculpa¨ based on Wenceslao Fernández Florez , ¨Don Juan¨ based on Don Juan Tenorio by Zorrilla , ¨Bambu¨ about the Cuba War and ¨¨Mies Es Mucha¨. In addition , a very good drama about Carlistas wars : ¨Diez Fusiles Esperan¨ . Heredia subsequently makes inferior comedies as ¨Grano De Mostaza¨, ¨Derechos De La Mujer¨ and ¨La Decente¨ . And various Manolo Escobar/Concha Velasco vehicles such as ¨Pero En Que País Vivimos¨, ¨Juicio De Faldas¨, Relaciones Casi Publicas ¨and ¨Me Debes Un Muerto¨. And other films for Paco Martínez Soria: ¨Se Armo El Belen¨, ¨Don Erre Que Erre¨. His greatest hits were ¨Historia De La Radio¨(1955) and this ¨La Verbena De La Paloma¨.
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5/10
A typical Spanish movie from the 60's
quinani8319 August 2006
This movie pretends to show the changes of the life and society occurred from the end of the XIX century to the first years of the sixties. It pretends to be a demonstration of the new modernity. In that way it's a bit of propaganda from the regimen of those days. Despite of that, and from a present-time point of view, you can see that no many things have changed at all.

It's also a movie about jealousy and love and all of this is developed in the atmosphere of "La Verbena de la Paloma" a traditional party of Madrid celebrating on August, still in the actuality.

Paradoxically it's now when you can realise about the changes occurred in the Spanish society from then to now and watching the pretending reality showed in the movie. Very easy to separate the reality and the incorporated, just because of the ingenuously way they taped the movies

Very funny movie too, with very enjoyable and quick dialogues, fulls of ingeniousness, which were typical of the people from Madrid on those years (or at least everybody says so). And also one of the best performances of the Spanish star Concha Velasco and of his partner in the movie Vicente Parra.

(Maybe a bit difficult for non Spanish speakers 'cause the use of a lot of words out of date)
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9/10
A Brilliant Adaptation of a Classic Music Theatre Piece
Aulic Exclusiva8 April 2009
Never mind the semi-literate socio-balderdash posted below, by someone who is obviously not, shall we say, musically minded. This film is merely a screen adaptation of the zarzuela La verbena de la paloma ['The Carnival of the Dove'], composed in 1893 by Tomás Bretón (1850-1923), to a libretto by Ruperto de la Vega. A zarzuela is a Spanish form of operetta, and this piece is one of the most successful and beloved examples of the genre. As the dates above indicate, this very popular piece has nothing to do with whatever "régime" was governing Spain in 1963. Indeed, this was part of a whole series of filmed classic zarzuelas produced by Spanish State television in the 1960s, all selected for their popularity and long success with the public.

The production is lavish and beautifully illustrative of traditional zarzuela stagings, filled with nostalgic charm, except for the brilliant twist ending which is equally endearing 45 years later. Of course some of the colloquial humour sounds definitely "period": this theatre piece is 115 years old, and all the more enchanting for that. It evokes a whole bygone era of life in Madrid, pokes gentle fun a several foibles of that time, and rattles with some of the most wonderful music ever composed by a Spaniard. All the tunes of this zarzuela are known and beloved over the whole Spanish-speaking world, except perhaps by the latest rapper generation.

The cast is superb in its command of the idiom and style of the piece, especially the two veterans in charge of the comic parts, Milagros Leal as battleax 'Aunt Antonia' and the immortal Miguel Ligero in one of his unforgettable rôles, the cowardly 'Don Hilarión', dirty old man extraordinaire. His solo as he primps himself up to go out with the young girl is one of the great moments in filmed musical theatre.

This is a life-enhancing version of this beloved chestnut, recommended to all who love vocal music and sung musical theatre.
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