El husped del sevillano - (1970)

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Год: 1970
Создатель кинофильма: Хуан де Ордунья
Перевод : Дубляж
Длительность: 86 мин. / 01:26
Рейтинг: 85.6
Актёры: Таня Бальестер, Малик Абидин, Майте Брик, Хоакин Бергиа, оберто Кабальеро, Карло дель Монте, Антонио Дюран, Трини Алонсо, Виктор Блас, Мария Хосе Альфонсо
Страна: Испания
Имя фильма: El husped del sevillano
Описание фильма: He doesn't have long to wait. Painter and page conceal themselves as she leaves the workshop to attend mass at the great Cathedral, and are duly stunned by her classic grace. Raquel sings a folksong in praise of the beauty of Toledo women, and Juan Luis chimes in from his hiding place ( Dúo: "Cuando el grave sonar de la campana".)
The artist asks Master Andrés for permission to use his daughter as a model, but the swordsmith is alarmed when he mentions her Hebraic features - Andrés is a converted Jew - and denies the request. Suddenly, they hear Raquel crying for help. Juan Luis hurtles to the rescue to find Raquel and the aristocratic Don Diego beset by three citizens. The painter beats off the trio, receiving a wound to the hand in the process. Thanking him for his aid, Don Diego enters his palace; but all was not as it seemed, as Raquel explains once her relieved father has left the scene. The citizens were protecting her from Don Diego's unwelcome attentions, but she is unwilling to worry her father by exposing this powerful libertine for what he is. The young woman and her protector are united in indignation at Don Diego's arrogant behaviour, but their mood soon softens and a love scene develops ( Dúo: "Insolente, presumido".)
Word has got out about Rodrigo's oath, and the page runs in pursued by a bevy of ugly women. Constancia, the maid at the Sevillano Inn, is enduring equally pestilential attentions from a group of handsome young men, and the two seek refuge by feigning an assignation with one another ( Pasacalle: "No me seas esquivo".) Frustrated, the ugly women pair off with the handsome men and leave. Constancia tells Rodrigo that she is heading for the swordsmiths to collect a dagger for a charismatic writer who is lodging at the Inn. Master Andrés, who has read several of his works, seconds her enthusiasm; and Constancia leaves with the repaired dagger.
Dusk falls and Don Diego slips from his palace with four masked servants ( Solo y coro: "Salid, mis fieles criados".) When Raquel appears they gag her and carry her off to the Inn, despite her father's attempts to intervene. Juan Luis, rushing in too late, promises to rescue her from the kidnappers - even at the cost of his life ( Final: "Castellano, toledano".)
Act 2, scene 1 - A narrow highway looking down on the city. Juan Luis meets with Rodrigo, who has heard from Constancia that a veiled woman has been carried into the Sevillano and is being imprisoned in a room at the Inn. Ordering the page to verify Raquel's identity, Juan Luis listens pensively to the song of a muleteer, coming into town with some villagers from Lagartera, including Teresa ( Solo y coro: "Para mula de varas".) The girls have come to sell trinkets, lace and finery to the women of Toledo, and Teresa leads them in a vivacious song praising the native wit of their village ( Coro de Lagarteranas: "Corred más que antes que sea noche".)

Beneath the twilit, romantic action of El hué lies a deeply felt tribute to the golden age of Castilian Spain and its spiritual home, Toledo. Our sense of watching a tale within a tale is heightened by the fact that we don't meet with the title figure until late in the day. 'The Guest' is a writer - none other than Spain's greatest, Cervantes himself - watching, absorbing, commenting on the eternal human drama that unfolds before his and our eyes.
Enrique Reoyo also worked with Guerrero on La canción del Ebro (1941) and was one of the writers of the equally elevated and poetic La leyenda del beso for Soutullo and Vert. Certainly the blank verse he puts into the mouth of Cervantes forms a noble and moving envoi to the action. Juan Ignacio Luca de Tena was perhaps responsible for the comic Rodrigo-Constancia story, a mirror action which provides El hué with the double-plot ambience of classic Renaissance drama.
Given the scrupulous care which Guerrero lavished on his score, it's not surprising that this is the composer's most subtly finished and technically perfect work. It is also chock full of memorable tunes - the lively 'Song of the Girls from Lagartera', the imprisoned Raquel's touching Romanza, Juan Luis's 'Song of the Sword' and perhaps above all his brief but beautiful "Mujer de los negros ojos" which provides the musical climax of the action before Cervantes' spoken peroration. The dúos for hero and heroine display great poise and flexibility of mood, and altogether El huésped del Sevilliano justifies its place as the best loved of Guerrero's works, and one of the most popular zarzuelas in the entire repertoire.
Act 1, scene 1 - Late afternoon in a small Toledo square, at the beginning of the seventeenth century. In the workshop of Master Andrés Munstein, the town's finest swordsmith, three of his journeymen are tempering swords. A group of girls led by Ginesa are filling their pitchers at a fountain, and their romantic musings merge poetically with the songs of the swordsmiths at their work ( Coro: "En la fuente cristalina".)
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