Musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs advance the plot or develop the film's characters, but in some cases, they serve as breaks in the storyline as elaborate "production numbers." The musical film was a natural development of the stage musical after the emergence of sound film technology. The biggest difference between film and stage musicals is the use of lavish background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater. In a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it; the 1930's through the early 1950's are considered to be the golden age of the musical film, when the genre's popularity was at its highest in the Western world. Disney's Snow White and the Seven Dwarfs, the earliest Disney animated feature film, was a musical which won an honorary Oscar for Walt Disney at the 11th Academy Awards.
Musical short films were made by Lee de Forest in 1923–24. Beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands and dancers; the earliest feature-length films with synchronized sound had only a soundtrack of music and occasional sound effects that played while the actors portrayed their characters just as they did in silent films: without audible dialogue. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include an audio track including non-dietetic music and diegetic music, but it had only a short sequence of spoken dialogue; this feature-length film was a musical, featuring Al Jolson singing "Dirty Hands, Dirty Face", "Toot, Tootsie", "Blue Skies", "My Mammy". Historian Scott Eyman wrote, "As the film ended and applause grew with the houselights, Sam Goldwyn's wife Frances looked around at the celebrities in the crowd, she saw'terror in all their faces', she said, as if they knew that'the game they had been playing for years was over'." Still, only isolated sequences featured "live" sound.
In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, a blockbuster hit. Theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen; the first all-talking feature, Lights of New York, included a musical sequence in a night club. The enthusiasm of audiences was so great that in less than a year all the major studios were making sound pictures exclusively; the Broadway Melody had a show-biz plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first "All-Talking, All-Singing, All-Dancing" feature film, it was a hit and won the Academy Award for Best Picture for 1929. There was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits; the Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton. Warner Brothers produced the first screen operetta, The Desert Song in 1929.
They photographed a large percentage of the film in Technicolor. This was followed by the first all-color, all-talking musical feature, entitled On with the Show; the most popular film of 1929 was the second all-color, all-talking feature, entitled Gold Diggers of Broadway. This film broke all box office records and remained the highest-grossing film produced until 1939; the market became flooded with musicals and operettas. The following all-color musicals were produced in 1929 and 1930 alone: The Show of Shows, The Vagabond King, Follow Thru, Bright Lights, Golden Dawn, Hold Everything, The Rogue Song, Song of the Flame, Song of the West, Sweet Kitty Bellairs, Under a Texas Moon, Bride of the Regiment, Whoopee!, King of Jazz, Viennese Nights, Kiss Me Again. In addition, there were scores of musical features released with color sequences. Hollywood released more than 100 musical films in 1930, but only 14 in 1931. By late 1930, audiences had been oversaturated with musicals and studios were forced to cut the music from films that were being released.
For example, Life of the Party was produced as an all-color, all-talking musical comedy. Before it was released, the songs were cut out; the same thing happened to Fifty Million Frenchmen and Manhattan Parade both of, filmed in Technicolor. Marlene Dietrich sang songs in her films, Rodgers and Hart wrote a few well-received films, but their popularity waned by 1932; the public had come to associate color with musicals and thus the decline in their popularity resulted in a decline in color productions. The taste in musicals revived again in 1933 when director Busby Berkeley began to enhance the traditional dance number with ideas drawn from the drill precision he had experienced as a soldier during World War I. In films such as 42nd Street and Gold Diggers of 1933, Berkeley choreographed a number of films in his unique style. Berkeley's numbers begin on a stage but transcend the limitations of theatrical space: his ingenious routines, involving human bodies forming patterns like a kaleidoscope, could never fit onto a real stage and the intended perspective is viewing from straight above.
Musical stars such as Fred Astaire and Ginger Rogers were among the most popular and highly
María del Pilar Bardem Muñoz better known as Pilar Bardem is a Spanish film and television actress. She is a younger sister of the renowned film director Juan Antonio Bardem and the mother of Academy Award-winner Javier Bardem. Born to performers Rafael Bardem and Matilde Muñoz Sampedro in Seville, Pilar began her screen career in 1965, she was a regular in the television series Compuesta y sin novio, Hermanas, El Inquilino, Amar en tiempos revueltos. Bardem is the recipient of the Goya Award for Best Supporting Actress, the Premios ACE for Best Supporting Actress, the Valladolid International Film Festival Award for Best Actress, two Spanish Actors Union Awards for her performances. Pilar Bardem is called "La Bardem", is well known in Spain not only as an actress, but for her outspoken left-wing political views, she has toiled for "labor rights for actors, civil rights for women", "a more liberal Catholic Church". Bardem identifies her long struggle, working several jobs at once to raise her children, as not uncommon.
She was just "one of so many". Opposed the Spanish government's decision to send troops to Iraq together with other Spanish actors. Accompanied her son, Javier Bardem, to the 80th Annual Academy Awards. After winning the Best Supporting Actor award, Javier dedicated his Oscar to her in Spanish, she is a FC Barcelona supporter. Good Morning, Little Countess The Rebellious Novice Variety The Doubt La descarriada as Lucila Entre rojas Pilar Bardem on IMDb
The Prince in Chains
The Prince in Chains aka King of the Vikings, is a 1960 Spanish-Italian historical adventure film directed by Luis Lucia. The film's sets were designed by Sigfrido Burmann. In alphabetical order Anastasio Campoy Juan Cortés Alfonso de la Vega Javier Escrivá Margarita Laos Katia Loritz Javier Loyola María Mahor Ángel Menéndez Antonio Molino Rojo Luis Morris Paul Naschy as Mongol chief Pedro Osinaga Luis Prendes Antonio Queipo Luis Rico Lorenzo Robledo Pedro Rodríguez de Quevedo Antonio Vilar Bentley, Bernard. A Companion to Spanish Cinema. Boydell & Brewer, 2008; the Prince in Chains on IMDb
Teresa Gimpera is a Spanish film and television actress and former model, married to U. S. actor Craig Hill. Hill was born in California. After a steady career in the motion picture industry, his acting career in the U. S. began to wane. He moved to Barcelona, Spain where he found work in spaghetti westerns, as well as other films, where he met model/actress Theresa Gimpera, they continued to reside and work in Barcelona, remained married until Hill's death in April 2014. Lucky, the Inscrutable Black Box Affair Wanted Tuset Street El extraño caso del doctor Fausto Eagles Over London The Exquisite Cadaver Twenty Thousand Dollars for Seven The Legend of Frenchie King The Rebellious Novice Naked Girl Killed in the Park The Night of the Devils Hannah, Queen of the Vampires' Those Dirty Dogs The Spirit of the Beehive El Vicio Y La Virtud English Striptease Course Completed The Long Winter Mira, Alberto; the Cinema of Spain and Portugal. Wallflower Press, 2005. Teresa Gimpera on IMDb
This article is about Spanish 1954 film. For 1994 Venezuelan telenovela, see Morena Clara. Morena Clara is a 1954 film directed by Luis Lucia starring Fernando Fernán Gómez; the film begins by depicting the fabled tale of. According to folklore gypsies are descendants of an Egyptian pharaoh. In the film, actors are dressed in ancient Egyptian costumes; as the story continues, the gypsies are run out of their lands and are forced to live nomadic lives and thieving as a means to survive. The Monty Pythonesque history lesson continues to present the protagonists’ ancestors and the scene that drives the rest of the film: Trinidad’s ancestor places a spell on Enrique’s ancestor that will cause his descendant to fall in madly in love with her descendant; the story continues to the present day, to say the 1950s, where Trinidad and her uncle Regalito are charged with stealing six hams from a shop window. This scene presents some of the most entertaining banter in the entire film as Trinidad and Regalito argue their innocence with matter-of-fact language and mannerisms common to Andalusian gypsies.
Their witty mockery, while creating uproars of laughter from the courtroom audience, causes the judges to grow more infuriated with the pair. It is that Enrique, a lawyer, steps in to defend Trinidad and Regalito. After much deliberation, the two gypsies, after having to pay a fee, are set free; the fee they are required to pay forces Trinidad to find employment. Coincidentally, she finds a job as a maid in Seville at the home of the lawyer. Instead of dismissing Trinidad, Enrique decides to make her part of an experiment he plans to conduct, his experiment is to see if he can turn Trinidad from a thieving gypsy into a functioning member of Spanish society. He plans to track change in his Pygmalion-like experiment by playing a song and seeing how she reacts to it; the more refined she becomes, the less she should react to the folkloric music. Trinidad’s reaction to Enrique’s statement, while humorous, presents the moral of the story: she tells him that the spirit of a gypsy is something that no one can tame and that though she will try because he has asked her to do this for him, it is an impossible task.
Fitted with new, modern clothing, Trinidad’s reaction to the music is a romping performance full of beautiful arm movements and earth-shaking stomps. Trinidad’s performance is so spell binding that, not only is Enrique entranced, but her impromptu tune is so catchy that he hums along to it the next morning; as the months go by, Enrique's experiment grows more futile. As Enrique’s coworker sees how entranced he has become by her, he plots to convince Trinidad to leave with the pretense that Enrique’s career might be jeopardized by her presence in his household. Trinidad decides to leave as the last thing she wants to do is hurt Enrique, she makes the decision to say goodbye to him by performing a song dedicated to him. In an driven performance, Trinidad performs a powerful rendition of “Te Lo Juro Yo,” leaving as soon as the song is done. In the end, Enrique declares his love for her. Lola Flores Fernando Fernán Gómez Miguel Ligero Manuel Luna Julia Lajos Ana Mariscal Julia Caba Alba Francisco Pierrá Morena Clara, while a comedic movie, deals with issues such as poverty, socioeconomic discrimination against gypsies, dispelling of the gypsy stereotype, of course, love.
Morena Clara on IMDb
María de los Ángeles de las Heras Ortiz better known professionally as Rocío Dúrcal was a Spanish singer and actress. In 2005 Dúrcal received a Latin Grammy Award for musical excellence, a prize, awarded by the Governing Board of the Recording Latin Academy to artists who have made creative contributions of outstanding artistic significance during their careers. Dúrcal began her artistic career by participating in various radio song festivals and competitions, secretly supported by her paternal grandfather, who always believed in her talent and became her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso, broadcast by Televisión Española; the theme that she chose for the contest was the traditional song "La sombra vendo". Luis Sanz, a Madrid manager who watched the show, was impressed by her personality. Sanz contacted the address of the young contestant, her first film was Canción de Juventud directed by Luis Lucia. The plot of the film portrayed a teenager with her own personality.
The movie scored huge box office and critics success. This success was repeated in other Spanish-speaking countries. Dúrcal became the star of Rocío de La Mancha. Following this, she got her first record deal with transnational Phonogram; the songs the artist played in both films served to make her first album, Las películas de Rocío Dúrcal. In Dúrcal's third film, Tengo 17 años, she put aside her role of "child star"; that same year, she appeared in her first theater play, Un domingo en Nueva York, in which she was revealed as a great theatrical actress. In 1965 she filmed Más bonita que ninguna. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame, she began to perform duets with such singers as Amalia de Isaura. She co-starred in the film Amor en el Aire with the young Argentine singer-songwriter Palito Ortega. In 1968 she filmed Cristina Guzmán, the first of her films, aimed at an audience over 18, her last film was with Bárbara Rey in Me Siento Extraña in 1977. In 1970 Dúrcal married Filipino-born musician Antonio Morales.
In 1972, Antonio Morales began a series of television shows in Spain and Latin America singing with his wife as a duet. Their first child, Spanish actress Carmen Morales de las Heras, was born in December 1970. After the birth of their second child, Antonio Morales de las Heras, in April 1974, Morales decided to give up his career to devote time to their children. Dúrcal meanwhile continued her singing career. In 1979 she had her third child, Shaila Morales de las Heras, who took up a singing career under the stage name of Shaila Dúrcal and is a successful singer. In 1977, Dúrcal signed a contract with Ariola Eurodisc dedicating herself to the musical career; that year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel, who decided to record a whole album of rancheras performed by Rocío Dúrcal entitled Rocío Dúrcal canta a Juan Gabriel. Without further advertising, the LP received high levels of sales, so Dúrcal and Juan Gabriel considered the possibility of a new recording together.
They ended up marking the revival of Rocío Dúrcal as a singer. The final collaboration between Dúrcal and Juan Gabriel emerged in 10 albums. Dúrcal's album named Canta A Juan Gabriel Volumen 6 is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination; the collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis. In 1990, she recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián.
In this album she reprises ranchera. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she is nominated again to the Grammy Awards in the category "Best Latin Pop Album". In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time; that album was made by an engagement with the record company and not by the desire of both artists to continue to cooperate. In 1998, under the direction of her discoverer Luis Sanz, Dúrcal starred in the Spanish TV Show Los negocios de mamá, broadcast by Televisión Española. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album.
In the summer of 2001 Dúrcal made a successful tour after 13 years of no shows in Spain. After a year and a half absence, she returned to the stage on 19 September 2002
Isabel Garcés Cerezal was a Spanish stage and film actress. Bentley, Bernard. A Companion to Spanish Cinema. Boydell & Brewer, 2008. Isabel Garcés on IMDb