Musical comedy with the adventures and misfortunes of two young girls named Catalina (Lina Morgan) and Alicia (Dyanik Zurakowska) working in stage at a Musical Revista , while producers , actors and trainers , the usual : José Luis Lopez Vazquez , Antonio Ozores and Manolo Gomez Burr , attempting to take advantage of them . Meanwhile , Catalina and Alicia always accompanied by their two mothers (Rafaela Aparicio and Florinda Chico) try to replace the first vedette (the gorgeous Ingrid Garbo) .
An amusing , silly and average Spanish comedy , appointed for all kind of public about a regular premise : two botcher new vedettes , Lina Morgan and Dianik , attempting to get fame and fortune by showing in musical spectacles and planning to take place a known vedette . This flick is a comical and sometimes disconcerting account of two girls in the early 70s from the personal , social , cultural , and economic perspective , because needing all of them , urgently , amount of money to resolve their problematic lives . Here there are some nice jokes , comical sketches and the cast plays eccentric characters . It is a so-so Spanish comedy that offers no intellectual stimulus whatsoever , though it has some entertaining , spectacular musical numbers and hilarious moments . The film attempts to give laughs but it falls short , resulting in an average and sometimes embarrassing film . Bemusing story with enjoyable but also absurd moments and attractive acting by likable comedians of the seventies : Lina Morgan , Antonio Ozóres , José Luis López Vazquez , and the incombustible José Sacristan . An enticing but sympethetic Spanish comedy film and with its ups and downs ; here our protagonist , the great Lina Morgan , demonstrates her real comical skills . The movies Lina played were fun and with many support actors . The films were with short budget and lackluster but including comedy and lots of fun , and many of them directed by Mariano Ozores . Lina was a famous actress , she starred successful films , such as : ¨La Tonta Del Bote¨, ¨La Graduada¨ , ¨La Descarrida¨, ¨Fin Semana Al Desnudo¨ , ¨Pecados De Una Chica Decente ¨ , ¨Una Pareja Distinta¨ , ¨Esta Es Lo Que Es¨, ¨Un Dia con Sergio¨, ¨Imposible Para Una Solterona¨ , and several others . Being specially known for his TV series such as ¨Hostal Royal Manzanares (1996), Una De Dos (1998) and Academia Baile Gloria (2001) , but she left ¨Escenas de Matrimonio¨ three weeks after joining the cast , due to health problems until her recent death in 2015 . Supporting cast is plenty of familiar faces such as : Antonio Ozores , Florinda Chico , Ingrid Garbo , Paco Valladares, Ingrid Garbo, Rafaela Aparicio , Loreta Tovar , Ramón Lillo , and many others .
This one is a mediocre picture , being middlingly directed by Mariano Ozores in his usual style and had enough success in the Spanish box office . Mariano's family origin is into show business , being son of Mariano Ozores Sr and brother of José Luis Ozores and Antonio Ozores . Furthermore , uncle of Emma Ozores and Adriana Ozores . Many actors and technicians worked and ate thanks to the huge success of his films . Those contained many nude girls , laughs and slapstick . Mariano is a craftsman filmmaker and writer , in fact he wrote fun screenplays , he recently won a Goya Award (2016) to his long and fruitful career . He made a lot of successful and commercial films such as ¨Agitese Antes Usarla¨ , ¨Al Este Del Oeste¨, ¨Los Liantes¨, ¨Los Energeticos¨, ¨La Lola Lleva Al Huerto¨ , ¨El Currante¨ , ¨El Hijo Del Cura¨, ¨Los presuntos¨, ¨Cuatro Mujeres Y Un Lío¨ , ¨Tío ¿De Verdad Vienen De París?¨ , ¨Alcalde Por Elección¨ , ¨Ellas Los Prefiere Locas¨.
This film deals with the ¨Revista Musical Española¨, a comedy/musical genre in stage , being a a succession of musical numbers but they are all related by means of a plot thread, combining both music and spoken texts in the function. During its first decades of history, there could be allusions to issues of political actuality, which were subject to underground criticism. The ¨costumbrista¨ or ¨life habits¨ elements were a constant in the genre . Identified above all with the city of Madrid, it gained its own characteristics that differentiated it from the American musical Comedy or the French Revue, because it not only had influences of the vaudeville, the burlesque or the music hall, but also of exclusive elements of Spain such as genus bufo, the sainete or the Zarzuela. The antecedent of the genre has been found in the 1860s, considering the first great exponent of the comic work 1864-1865 , by José María Gutiérrez de Alba (libretto) and Cristóbal Oudrid (music), released on January 30, 18654 Which would follow The young Telemachus (1866), by Eusebio Blasco ; 5 his hatching coincided with the premiere in 1886 of the piece La Gran Vía. This first stage, which lasts until 1910 was known as that of the white magazine. Other outstanding titles of that first stage were Cuadros dissolventes (1896) , La kitita blanca (1905), La alegre trompetería (1907) (with the famous Waltz of the Watering Can, played by Julita Fons) and Enseñanza libre (1910) . During the decades of 1910 and 1920 the musical numbers endowed with strong picaresque , had a high sexual load , suggested and never explicit , with words characterized by the double senses .The splendor stage of the genre starts with the premiere of Las corsarias in 1919, which had a sweeping success.The arrival in Spain of Argentina's Celia Gámez was a revulsion in the genre, and also a turn towards somewhat more elaborate and less procacious . This actress promoted the magazine with titles such as Las punigadoras (1927) or Las leandras (1931), both with music by Francisco Alonso, with the famous numbers El Pichi and Los nardos . And Vedettes as Laura Pinillos performing El Pichi at the premiere of Las Leandras in Barcelona, in November 1931 . During the Second Republic, titles such as Spare Parts (1933), Las de Villadiego (1933), Las Comunistas (1934), Las de los ojos en Blanco (193), Women of Fire (1935) also had the favor of the public. Those of arms to take (1935) and the touches (1936). After the Spanish Civil War, the genre was reborn again by Celia Gámez, with titles such as Cinderella's Palace, released on January 20, 1940, Yola (1941) 6 or If Faust was Faustina (1942). Other notable titles were Honeymoon in Cairo (1943), Five Minutes No Less (1944), The White Double (1947), Havana I Go (1948), The Star of Egypt (1948), The Enchantress in the Palace (1950), Temptation (1951), The Fourth of A. Polo (1951), Ana Maria (1954) and The Eagle of Fire (1956). Celia Gámez would be followed by such famous celebrities as Marujita Díaz, Queta Claver, Raquel and Irene Daina, Lina Canalejas, Mary Begoña, Maruja Boldoba or Maruja Tomás . Next to them, comedians who forged in this type of shows were Zori, Santos and Codeso, Tony Leblanc, Luis Cuenca, Angel of Andres, Juanito Navarro, Quique Camoiras, Manolo Gómez Bur, Adrián Ortega or Pedro Peña. The arrival of television and changes in the tastes of the public caused, since the 1960s a decline in the genre, which accelerated with the arrival of democracy : The relaxation of censorship and the phenomenon of the uncovering or ¨Destape¨ , were their falling , it was no longer necessary to suggest when it could be displayed without objection. Stars of this last stage were Addy Ventura, Vicky Lusson, Tania Doris (discovered by producer Matías Colsada) , Norma Duval and María José Cantudo.Still in the 1980s some exponents of the genre were released that achieved enormous success, but that constituted the swan song of the same, such as Por la calle de Alcalá (1983), with Esperanza Roy, Go pair of twins (1983), with Lina Morgan or Mama I want to be an artist (1986), with Concha Velasco. Precisely in the 80s the television producer Fernando García de la Vega versioned for the small screen a selection of the most famous musical magazines in an anthology entitled The Spanish musical comedy that broadcast TVE in 1985.
An amusing , silly and average Spanish comedy , appointed for all kind of public about a regular premise : two botcher new vedettes , Lina Morgan and Dianik , attempting to get fame and fortune by showing in musical spectacles and planning to take place a known vedette . This flick is a comical and sometimes disconcerting account of two girls in the early 70s from the personal , social , cultural , and economic perspective , because needing all of them , urgently , amount of money to resolve their problematic lives . Here there are some nice jokes , comical sketches and the cast plays eccentric characters . It is a so-so Spanish comedy that offers no intellectual stimulus whatsoever , though it has some entertaining , spectacular musical numbers and hilarious moments . The film attempts to give laughs but it falls short , resulting in an average and sometimes embarrassing film . Bemusing story with enjoyable but also absurd moments and attractive acting by likable comedians of the seventies : Lina Morgan , Antonio Ozóres , José Luis López Vazquez , and the incombustible José Sacristan . An enticing but sympethetic Spanish comedy film and with its ups and downs ; here our protagonist , the great Lina Morgan , demonstrates her real comical skills . The movies Lina played were fun and with many support actors . The films were with short budget and lackluster but including comedy and lots of fun , and many of them directed by Mariano Ozores . Lina was a famous actress , she starred successful films , such as : ¨La Tonta Del Bote¨, ¨La Graduada¨ , ¨La Descarrida¨, ¨Fin Semana Al Desnudo¨ , ¨Pecados De Una Chica Decente ¨ , ¨Una Pareja Distinta¨ , ¨Esta Es Lo Que Es¨, ¨Un Dia con Sergio¨, ¨Imposible Para Una Solterona¨ , and several others . Being specially known for his TV series such as ¨Hostal Royal Manzanares (1996), Una De Dos (1998) and Academia Baile Gloria (2001) , but she left ¨Escenas de Matrimonio¨ three weeks after joining the cast , due to health problems until her recent death in 2015 . Supporting cast is plenty of familiar faces such as : Antonio Ozores , Florinda Chico , Ingrid Garbo , Paco Valladares, Ingrid Garbo, Rafaela Aparicio , Loreta Tovar , Ramón Lillo , and many others .
This one is a mediocre picture , being middlingly directed by Mariano Ozores in his usual style and had enough success in the Spanish box office . Mariano's family origin is into show business , being son of Mariano Ozores Sr and brother of José Luis Ozores and Antonio Ozores . Furthermore , uncle of Emma Ozores and Adriana Ozores . Many actors and technicians worked and ate thanks to the huge success of his films . Those contained many nude girls , laughs and slapstick . Mariano is a craftsman filmmaker and writer , in fact he wrote fun screenplays , he recently won a Goya Award (2016) to his long and fruitful career . He made a lot of successful and commercial films such as ¨Agitese Antes Usarla¨ , ¨Al Este Del Oeste¨, ¨Los Liantes¨, ¨Los Energeticos¨, ¨La Lola Lleva Al Huerto¨ , ¨El Currante¨ , ¨El Hijo Del Cura¨, ¨Los presuntos¨, ¨Cuatro Mujeres Y Un Lío¨ , ¨Tío ¿De Verdad Vienen De París?¨ , ¨Alcalde Por Elección¨ , ¨Ellas Los Prefiere Locas¨.
This film deals with the ¨Revista Musical Española¨, a comedy/musical genre in stage , being a a succession of musical numbers but they are all related by means of a plot thread, combining both music and spoken texts in the function. During its first decades of history, there could be allusions to issues of political actuality, which were subject to underground criticism. The ¨costumbrista¨ or ¨life habits¨ elements were a constant in the genre . Identified above all with the city of Madrid, it gained its own characteristics that differentiated it from the American musical Comedy or the French Revue, because it not only had influences of the vaudeville, the burlesque or the music hall, but also of exclusive elements of Spain such as genus bufo, the sainete or the Zarzuela. The antecedent of the genre has been found in the 1860s, considering the first great exponent of the comic work 1864-1865 , by José María Gutiérrez de Alba (libretto) and Cristóbal Oudrid (music), released on January 30, 18654 Which would follow The young Telemachus (1866), by Eusebio Blasco ; 5 his hatching coincided with the premiere in 1886 of the piece La Gran Vía. This first stage, which lasts until 1910 was known as that of the white magazine. Other outstanding titles of that first stage were Cuadros dissolventes (1896) , La kitita blanca (1905), La alegre trompetería (1907) (with the famous Waltz of the Watering Can, played by Julita Fons) and Enseñanza libre (1910) . During the decades of 1910 and 1920 the musical numbers endowed with strong picaresque , had a high sexual load , suggested and never explicit , with words characterized by the double senses .The splendor stage of the genre starts with the premiere of Las corsarias in 1919, which had a sweeping success.The arrival in Spain of Argentina's Celia Gámez was a revulsion in the genre, and also a turn towards somewhat more elaborate and less procacious . This actress promoted the magazine with titles such as Las punigadoras (1927) or Las leandras (1931), both with music by Francisco Alonso, with the famous numbers El Pichi and Los nardos . And Vedettes as Laura Pinillos performing El Pichi at the premiere of Las Leandras in Barcelona, in November 1931 . During the Second Republic, titles such as Spare Parts (1933), Las de Villadiego (1933), Las Comunistas (1934), Las de los ojos en Blanco (193), Women of Fire (1935) also had the favor of the public. Those of arms to take (1935) and the touches (1936). After the Spanish Civil War, the genre was reborn again by Celia Gámez, with titles such as Cinderella's Palace, released on January 20, 1940, Yola (1941) 6 or If Faust was Faustina (1942). Other notable titles were Honeymoon in Cairo (1943), Five Minutes No Less (1944), The White Double (1947), Havana I Go (1948), The Star of Egypt (1948), The Enchantress in the Palace (1950), Temptation (1951), The Fourth of A. Polo (1951), Ana Maria (1954) and The Eagle of Fire (1956). Celia Gámez would be followed by such famous celebrities as Marujita Díaz, Queta Claver, Raquel and Irene Daina, Lina Canalejas, Mary Begoña, Maruja Boldoba or Maruja Tomás . Next to them, comedians who forged in this type of shows were Zori, Santos and Codeso, Tony Leblanc, Luis Cuenca, Angel of Andres, Juanito Navarro, Quique Camoiras, Manolo Gómez Bur, Adrián Ortega or Pedro Peña. The arrival of television and changes in the tastes of the public caused, since the 1960s a decline in the genre, which accelerated with the arrival of democracy : The relaxation of censorship and the phenomenon of the uncovering or ¨Destape¨ , were their falling , it was no longer necessary to suggest when it could be displayed without objection. Stars of this last stage were Addy Ventura, Vicky Lusson, Tania Doris (discovered by producer Matías Colsada) , Norma Duval and María José Cantudo.Still in the 1980s some exponents of the genre were released that achieved enormous success, but that constituted the swan song of the same, such as Por la calle de Alcalá (1983), with Esperanza Roy, Go pair of twins (1983), with Lina Morgan or Mama I want to be an artist (1986), with Concha Velasco. Precisely in the 80s the television producer Fernando García de la Vega versioned for the small screen a selection of the most famous musical magazines in an anthology entitled The Spanish musical comedy that broadcast TVE in 1985.
