Amores em Sevilha

Gloria Alvargonzález (Carmen Sevilla) decices to become nun as the Hermana San Sulpicio , while Ceferino Sanjurjo (Jorge Mistral) is a Galician doctor who comes to Andalucia to run a hospital . They are two very different roles . On one hand , he is a serious and upright Galician doctor, on the other hand , she is a beautiful and rich Andalusian with an extroverted and dominant character who's being usually adviced by the sympathetic priest , Don Sabino (Manuel Luna) . Nevertheless , by chance she is destined for a Granadian hospital of which Dr. Ceferino is the director . Little by little , both of whom fall in love but there's an extreme inconvenience , she is a novice nun .

Agreeable musical dramedy with amenity , fine humor , irony , traditional sense of style and nice Andalusian setting . It was common in post-war cinema to deal with the most luxurious means of advertising in favor of singers , bullfighters , athletes , priests and here nuns . Based on the Antonio Palacio Valdes novel , however the adaptation is not faithful to the details . Palacio Valdés was a nineteenth-century novelist , who wrote about social habits , popular manners and in a realist language . This one is an attempt to popularize Carmen Sevilla as Gloria a lively , funny girl who makes a surprising decision : to become a nun . Here with the gallant Jorge Mistral as good looking partenaire and using , as usual in Lucía's cinema , the Catholicism and holy church through some friendly nuns . Carmen Sevilla's first appearances on the big screen took place in 1946 thanks to his brief acting in the documentary ¨Hombres Ibéricos¨ by Domingo Viladomat and in 1947 director Juan de Orduña gave him the opportunity to debut with a brief role in the feature film ¨Serenata española¨ . In 1948 she gave his first leading role in ¨Jalisco canta en Sevilla¨ , where he shared credits with the Mexican Jorge Negrete. In the 1950s she starred one of her most emblematic films in 1952 alongside the popular Luis Mariano, ¨Violetas Imperiales¨, with whom he would repeat on the big screen in titles such as ¨The Dream of Andalusia¨ and ¨The Beauty of Cádiz¨. During this decade, he has also starred in films such as ¨Cuentos de la Alhambra¨ (1950), by Florián Rey , ¨La sister San Sulpicio¨ (1952), by Luis Lucia, ¨Violetas imperiales¨ (1952), by Richard Pottier, ¨Gitana had to be¨ (1953), ¨La pica molinera¨ (1954), by León Klimovsky , ¨La fierecilla domada¨ (1955), by Antonio Román , ¨La venganza ¨(1957), by Juan Antonio Bardem (the first Spanish film to be nominated for the Oscar Award for Best Foreign Language Film), ¨The desert lovers¨ (co-production set in Egypt and co-starring Ricardo Montalbán) and ¨Pan, amor y ... Andalucía¨ (1958), by Javier Setó along with Vittorio de Sica . In 1962, the film ¨El Balcon de la Luna¨ was released , where Carmen Sevilla, Lola Flores and Paquita Rico were united for the first time to work together on a feature film, all of them also actresses and popular singers at the time and whom they baptized with the nickname of "Las my souls "or" The three Marys". Carmen Sevilla was a pioneering Spanish actress in participating in American and European co-productions, which allowed her to replicate Hollywood stars such as Paulette Goddard , Jeffrey Hunter and Charlton Heston, and the Italians Vittorio De Sica and Raf Vallone . Carmen could become hersef a great international star , as she rejected a seven-year contract with a great Hollywood studio , preferring to focus her career in Spain . What did not prevent her from making the leap to Anglo-Saxon cinema when she interpreted ¨King of Kings¨ (1961) by Nicholas Ray , shot in Spain, where she played María Magdalena and later on , she also starred in Marco Antonio y Cleopatra (1972) alongside Charlton Heston . In the sixties she played nice films such as ¨Looking for Mónica¨ by José María Forqué (1962) , ¨Summer Cruise¨ by Luis Lucia (1964) , ¨Camino del Rocío¨ by Rafael Gil (1966) or ¨La guerrillera de Villa¨ by Miguel Morayta . From this decade on, she tried to relaunch a film career that was beginning to languish and adopted a new register , with more dramatic roles and a pseudo-erotic aesthetic, very usual at the time , that led her to star in titles such as : ¨Teach a scoundrel¨ (1970) by Agustín Navarro, ¨A decent adultery ¨(1971), by Rafael Gil , ¨The virgin wax¨ (1972), by José María Forqué, ¨It is not good that the man is alone¨ (1973), by Pedro Olea, ¨The she-wolf and the dove¨ (1973 ), by Gonzalo Suárez, ¨Nobody heard screaming¨ (1973), by Eloy de la Iglesia or ¨Nosotros los decentes¨ (1976), by Mariano Ozores . Of this decade, it is worth highlighting her participation in El Techo de cristal (1971) by Eloy de la Iglesia, for which she won the award for best actress from the Circle of Cinematographic Writers. She also in 1971 in Argentina starred ¨Embrujo de amor¨with the remembered and deceased Sandro (Roberto Sánchez, idol of America). The Transition , Destape period and subsequent years , meant less artistic activity for Carmen Sevilla , like almost all the popular folk stars before . In 1978 she shot her last film : Faces . Here Carmen Sevilla's well accompanied by a famous Galán at the time : Jorge Mistral who sadly committed suicide and a familiar support cast , such as : Manuel Luna , Julia Caba Alba ,Manolo Gómez Bur , Casimiro Hurtado , Antonio Riquelme , Rafael Hernández and brief appearance by Manolo Gómez Bur and Antonio Ozores . The motion picture was regular but professionally directed by Luis Lucia who shows specifically Andalusian topics, such as bullfighting , flamenco, partying , dancing and typical songs.

There are other versions about this novel : silent rendition ¨La hermana San Sulpicio¨ (1927) by Florian Rey with Imperio Argentina , Florencia Bécquer , Ricardo Nuñez . ¨La hermana de San Sulpicio¨ (1934) by Florian Rey with Imperio Argentina , Miguel Ligero ,Salvador Soler Marí. Argentina TV series : ¨La hermana San Sulpicio¨ (1960) with Nelly Beltrán. ¨La novicia rebelde¨ (1972) by Luis Lucia with Rocío Dúrcal , Guillermo Murray , Isabel Garcés , Ángel Garasa.