Eloísa leaves her aunt with whom she has had a bad living since her mother's death, and travels to the city to ask shelter from another aunt, who takes her as a maid. She also meets a good ...
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Eloísa leaves her aunt with whom she has had a bad living since her mother's death, and travels to the city to ask shelter from another aunt, who takes her as a maid. She also meets a good boy and they become engaged. When to sort out a difficult situation her aunt compromises her honor she will have to react. Based on the zarzuela of the same title. Written by
"Alma de Dios" enshrines a 'genero chico' vaudeville-style of comedy acting which is a lost art. Physically and verbally, the performances of José Isbert and Paco Martínez Soria are a joy, and there's strong dramatic support from the rest of the cast. Arniches' comedy is heavily tinged with sentiment, and the end of the farcical thriller-chase (centred on whether a baby will be reunited with its true mother) is touching as well as funny.
Anyone expecting a straight filming of the original Serrano/Arniches zarzuela will hear nearly all the music, but not necessarily in the original contexts. They will, though, get to hear the great tenor Emilio Vendrell singing the famous "Cancion Hungara". The panning shots of a post-civil war, bomb-shattered Madrid, cross cut against the prevailing domestic atmosphere (a wonder Franco allowed Iquino to keep these in!) and although "Alma de Dios" is hardly great cinematography, it remains a thoroughly entertaining and representative Spanish film of its era.
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