LA VERBENA DE LA PALOMA

La Verbena de la Paloma: translation

The fair of the virgin of the dove(1935)

La verbena de la Palomahas been regarded not only as the best film adaptation of azarzuelabut also the jewel in the crown of popular Republican cinema and one of the best examples of the Republican version of populism. As in other musicals, the plot revolves around a young man who intends to take his girl to a ball (in this case to celebrate the Madrid Virgin of the Dove) and her attempts to make him jealous (the same motif appears, for instance, inOklahoma!).

Well-established traditions were recycled into the new medium and, in tune with the times, the product was meant for working-class audiences; there was no attempt to impose old-fashioned Catholic morality (as in such films asLa aldea maldita[The Cursed Village1930 ] andNobleza baturra[ that could be translated asAragonese NobilityorRustic Chivalry, 1935 ], both directed byFlorián Rey), no redemption through prayer, no divine intervention; working-class characters could be funny without becoming ridiculous caricatures, and their appeal made identification easier.There was a celebration of the small events in their lives, rather than the use of grand gestures and heightened plots, following thecostumbrismoapproach. Perojo's roving camera moves with amazing agility through streets, façades, among crowds, and around cafés, displaying an energy that is the visual counterpart to the music.

La verbena de la Palomaopened to unanimous praise on 23 December 1935 and went on to attract an international audience. Reviewers recognized it as the first masterpiece of Spanish cinema. It also constituted the most original and imaginative blending of music and cinematic resources in the history of the Spanish musical, practically unsurpassed in its ambition untilCarlosSaura's work in the genre over the last two decades.