Why so much hype?

Self-important, over-dramatic, uninspired.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Colorful tale of love , jealousy and intense romance , including spectacular musical numbers in which a gorgeous woman seduces several damned men . On New Year's Eve 1899 , the free , enigmatic woman called Soledad (Sara Montiel) is selling violets in a Madrid bustling street when she meets Carlos (Pastor Serrador) and his friend aristocrat Fernando (Raf Vallone) . Soon after , she debuts at Bolero saloon , where finds him again and Soledad and Fernando fall in love but their social backgrounds , -he's higher class , she's lower class- , threatens the relationship . Fernando is under usual pressure from his older brother Alfonso (Tomás Blanco) who reminds him of his duties as a diplomatic , including his marriage engagement to a countess (Ana Mariscal) . But then , there takes place a tragedy , in which Fernando, feeling devastated and guilty breaks their loving relationship . Later on , she meets Henri Barnard (Frank Villard) promoter who offers her a successful career as a famous singer . The passionate , impulsive Soledad flees from Spain and triumphs as a popular singer in Paris and other European countries . Soledad's peculiar character becomes her the victim and protagonist of a fatalistic chain of extraordinary deeds and turbulent loves . Enjoyable but simple melodrama in which we are destined to be the witnesses of a story of passion , jealousy and a twisted love story between two different characters who carry out their plans disregarding all social conventions and scandalizing high society . Agreeable update film based on a story by Manuel Villegas López with script by Jesús Maria Arozamena , adding the typical Spanish clichés , romances and a lot of popular songs (15) sung by Saritisima . The story is extremely melodramatic and plenty of songs , musical spectacle and colorful scenarios . Luis Cesar Amadori brilliantly casts one of the best Spanish actress of the epoch , Sara Montiel , to play Soledad in the kind of steamy role she revels in , and with one of the most known actors in Latino Cinema , Raf Vallone , as an aristocrat who decides to put an end to their loving affair . Sara Montiel is frankly well as one very highly sensual young as well as heartbreaking singer , making lavish utilization of her considerable physical assets , attractive countenance , charms and whatever acting ability was necessary , Sara made her Soledad Moreno the most gorgeous , heartless and hot-blooded screen heroine of the Spanish cinema . At the beginning , she won a beauty and talent contest held by Cifesa, the most influential Spanish film studio of that era . In the next four years she appeared in 14 films for Cifesa , including her first international success Locura De Amor (1948), which led to a long term-contract in Mexico. She quickly established herself as one of the most popular film actors of the decade . They starred 14 films between 1950 and 1954. Hollywood came calling and she was formally introduced to American moviegoers in Veracruz (1954), playing Gary Cooper's love interest. Later she filmed she worked at Warner Bros in Serenade (1956) with Mario Lanza, directed by Anthony Mann, who became her first husband. After starring in Samuel Fuller's Yuma (1957) with Rod Steiger, Sarita shot El Ultimo Cuplé (1957) , ("The Last Song") , in Spain, a musical production that turned out to be the biggest box-office success in Spain's film history. It played for over one year in the same theaters in which it opened. A similar reaction followed in Western Europe and Latin America. Sarita Montiel had become the most popular actress-singer of 1957 and a national treasure for Spain.The unprecedented success of "El Último Cuple" threw a wrench into her Hollywood career, as she was offered a multimillion-dollar contract to star in four films in Europe . Her next vehicle, La Violetera (1958) ("The Violet Peddler"), confirmed Sara's popularity and broke the box-office records set by the previous movie . The theme song from "La Violetera" became Montiel's signature song. There are good actors in supporting roles like Ana Mariscal , Frank Villard , Tomás Blanco , Pastor Serrador , Tony Soler , Félix Fernández , a brief and early appearance by Laura Valenzuela , among others . Luxurious as well as evocative cinematography in brilliant Technicolor by Antonio L. Ballesteros . Evocative musical score by Juán Quintero , full of popular and catching songs. The motion picture was lavishly produced by the great producer Benito Perojo and professionally directed by Luis Cesar Amadori , but without emotion , no enthusiasm . The Argentinian , nationalized Spanish writer/filmmaker Tulio Demicheli so consistently mixed the good with the mediocre that it became quite impossible to know what to expect from him next . Here the craftsman Luis Cesar Amadori blends dramatic events along with popular songs . Amadori was an Italian-born former journalist and music critic who became a leading stage producer and dramatist , and , subsequently, writer-director of motion pictures in Argentina . Luis was manager in 150 theatrical spectacles . He debuts in ¨Puerto Nuevo¨(1936) co-directed by Mario Soffici . Amadori often used the pseudonym ¨Gabriel Peña¨ when he wrote his scripts . After the overthrow of Peron worked in Spain for a decade , for 1958 to 1968 he made 17 films , such as : 1965 ¨Más Bonita Que Ninguna¨ , 1964 ¨El Señor De La Salle¨ with Mel Ferrer , 1964 ¨Como Dos Gotas Agua¨ , 1963 ¨La Casta Susana¨ , 1961 ¨Pecado De Amor¨ , 1961 ¨Alerta en el Cielo¨ , 1960 ¨Mi Ultimo tango¨ , 1960 ¨Un Trono para Cristy¨ , 1959 ¨Una Gran Señora¨ , 1958 ¨Una Muchachita De Valladolid¨ . Most of them were vehicles of popular actresses as ¨Rocio Durcal¨ , ¨Marujita Diaz¨ , ¨Pili and Mili¨ and Sara with whom made this his biggest hit .

After El Ultimo Cuplé, Montiel tells in her autobiography, signed three contracts: one with Benito Perrojo, another with Cesáreo González and one more with the Bacázar Bothers, for the making of 3 films with each one, getting for each movie 35 million of pesetas or 1 million dollars "...long before Elizabeth Taylor". La Violetera, she says "was more of a fairy tale story" but gave her the opportunity to choose the "right songs" as well her dresses and the decoration. An enormous success and "her favorite personal film", the Jose Padilla's "La Violetera" theme song was used long before in a movie: by Charles Chaplin in City Lights (1931). Many years later, like 30 or so, she would sing again this theme for a CD titled "Pusísimo", with her friend and famous opera singer Montserrat Caballé. Of course, it's a terrible and easy-to-forget version for both. It's in my opinion, that "La Violetera" is her first movie in which we can see how the camp myth is born since she was able to do whatever she wanted to do, including sort of self directing, so its no wonder that after this nice and corny film, she became more and more camp until she transformed herself in a Spanish Mae West but never the less, a diva.

In Madrid, on the New Year's Eve of 1900, the violet street vendor Soledad (Sara Montiel) meets the rich noble Fernando (Raf Vallone) and they immediately fall in love for each other. Their difference of classes and the prejudice of the high society of Madrid cause a tragedy in the family of Fernando, forcing their separation.When I was a boy, I recall how my mother loved this movie. Today I have had the chance to watch it on DVD and it is a delightful classic love story. The romance is very beautiful, showing a tough fight of classes and prejudice in the beginning of the Twentieth Century in Spain. Sarita Montiel is amazingly gorgeous, and have a wonderful chemistry with Raf Vallone. The music score is dated in the present days, but it is still very beautiful, highlighting the title song with the magnificent interpretation of Sarita Montiel. The rare DVD released in Brazil by New Line has many problems mainly with the image, but the distributor issued a warning on the cover advising the consumers about these defects on the available matrix of the film. My vote is ten.Title (Brazil): "La Violetera"

In LA VIOLETERA, a lavish Italo-Spanish co-produced musical (a rarity) in itself, Spanish entertainment legend (singer, actress, cabaret performer, etc.) Sarita Montiel is at her zenith. This film, released in 1958 was a sensation in the Spanish speaking world, and newer generations know it and see it over and over again with their kids. Today it is, of course, very dated, and so melodramatic as to seem like a spoof. However, in its time, the film emulated Hollywood musicals and melodramas, and succeeded. It features very popular songs, and displays typically Spanish (Madrid) folklore. LA VIOLETERA came on the heels of EL ULTIMO CUPLE's success (in 1957), and cemented Sarita Montiel as the Spanish Judy Garland and Lana Turner, all in one. She was also the Spanish world's greatest sex symbol at a time of extreme repression. Still in late 1999, at age 68 to 70, she still tours worldwide, sings and dances up a storm. A nostalgic trip worth experiencing!