Valencia

EL ULTIMO CUPLE is a must-see for any Spanish cinema buff, in fact any admirer of Spanish culture. The movie has many layers that make it a favorite in the Spanish-speaking world, and is being seen by the newer generations, as we in the U.S. see "The Wizard of Us." It is a star-studded, more accessible alternative, to the heavier Spanish "zarzuela" or operetta. First, it is about cuples, "couplets" - simple Spanish songs from popular poems. In this respect, the movie, and its soundtrack are the ultimate collection of couplets. Secondly, the plot is woven so that nearly every major facet (now known as cliche') of Spanish culture is revealed in the diverse songs, and plot twists. These include the main regional costumes and dances, bullfighting rituals, the devotion to the Virgin Mary and local popular Saints, women's tragic position in life - dedicated to their men, and various folkloric songs that are not couplets. The latter include "Valencia" (about the orange growing province), and "La Madelon" (the French WW I hymn, also sung in Spain). In third place, and I'll stop here, it is a showcase for the extraodinary talent (which includes beauty and sensuality) of the Spanish World's star of the Century: Sarita Montiel, and at her prime.

During the forties, the Spanish Speaking world created two stars: María Félix, famous for her exquisite beauty and Libetad Lamarque, probably the most popular singer of those years. When, in 1957, EL ÚLTIMO CUPLÉ came out, the Spanish world (and the rest too!) found in Sarita Montiel an artist who had the beauty of María Félix (though a little more human and warm) and the charm of Libertad Lamarque (though the voice os Miss Lamarque was better). Her presence on the screen impacted everybody. Her unique singing style sold her records by the millions. After EL ÚLTIMO CUPLÉ came LA VIOLETERA, CARMEN, LA BELLA LOLA, PECADO DE AMOR, MI ÚLTIMO TANGO, LA REINA DEL CHANTECLER... films which broke box office records in Europe, America, Africa, India, Japan... even those countries behind the Iron Curtain. Neither the plots of her films nor her leading men were important; moviegoers wanted only one thing: to see and hear Sarita. Wherever there has been a movie screen a film of Miss Montiel has surely played.

Barcelona 1950s. María Luján (Sara Montiel), a famous star-business performer singing from the 1920s works at ¨El Molino¨ Cabaret , she is now forgotten , broke and alone . Juan Contreras (Armando Calvo), her ex-entrepreneur and ex-boyfriend , finds her singing at a modest theater in a variety show where people ignore how great she was . María and Contreras have an emotional reunion in her dressing room and start remembering their past . 1910 , Madrid , she lived modestly with her aunt Paca (Matilde Muñoz Sampedro) and Maria won a beauty contest . She was engaged to Cándido Chamorro (José Moreno) who worked at a watch repair shop . Cándido steals money from the shop , discovered and is imprisoned . Cándido is released but soon realizes that he has nothing to offer María so is enlisted and he volunteers for the African Army . Meanwhile , Maria gets a big success and soon she is singing in Paris where she is deemed as a superstar . 1919 , at the Moulin Rouge the spectators adore her and the men are all at her feet including a drunken Russian noble , Grand Duke Vladymir of Russia (Alfredo Mayo) , who forces her . But Contreras intervenes and ends up wounded in a duel with him . María realizes that Juan truly loves her and, moved with gratitude , swears eternal love to him . The couple tours America where María continues her triumphant career performing in the best venues from Buenos Aires to New York . Back in Madrid Maria meets Pepe Molina , (Enrique Vera) an aspiring Torero and she falls in love for him . They begin a torrid love story that is soon the scandal of the day . Maria uses her money and influence to advance Pepe's career and he soon becomes a famous bullfighter but a sad tragedy takes place .

Musical drama full of songs and attractive scenarios , being paced in a long flashback reminiscing about her glorious spectacles when she was received like a goddess as well as her turbulent past and distresses . Dealing with her rising , becoming the singing sensation of the time to her fall . It achieved a big hit , thanks to its 24 songs , 11 played by Sara Montiel. The film had problems with censorship due to some brief erotic elements , as when the original script of El Ultimo Cuple was submitted to the censors, as required by law in General Franco's regime, it was rejected . It was re-exhibited in 1973 , approx. 138 minutes of runtime ; 28 minutes more than first version . "The Last Torch Song" packs a brilliant cinematography by José F Aguayo . Evocative original musical score by Juan Solano filled of known and classic Spanish songs . The motion picture was professionally directed by Juan De Orduña and exhibited by the powerful production company CIFESA , the main filming enterprise from Franquismo . It was a big hit and considered to be one of the greatest successes of the Spanish cinema .

Sara Montiel is frankly well as one very highly sensual singer , making lavish utilization of her considerable physical assets , attractive countenance , charms and whatever acting ability was necessary , Sara made her María Luján the most enticing , 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 as well as ¨El Relicario¨ from ¨El Ultimo Cuple¨

I had the privilege of seeing EL ULTIMO CUPLE in Paris during the Festival d'Automne in December 1981. Sarita Montiel, absolutely gorgeous in a mink coat, was in attendance and was given a standing ovation at the Saint-Germain-des-Près movie theater where three Montiel films were shown in an all-night presentation. EL ULTIMO CUPLE opened the evening and I was in awe at the beauty and talent of Sarita Montiel. She was charming in her speech to the house, that was fully packed, and I left the movie theater completely in love with the great Spanish star. I had already seen LA VIOLETERA, CARMEN LA DE RONDA, PECADO DE AMOR, MI ULTIMO TANGO, LA REINA DEL CHANTECLER and other Montiel films, but EL ULTIMO CUPLE may well be Montiel's signature performance, followed by LA VIOLETERA, and I have always gone back to it, time after time. This film is a national treasure. I am glad it has been restored and given the proper treatment it deserves.

A fine film based on the life of a singer of "cuplés," a popular Spanish musical genre. It bears great similarity to the classic "Dama de las Camelias" with a tragic ending. The music is fine. The Sarita Montiel singing is warm and exotic, very easy listening. However, purists might prefer the original style of "cuplé" singers, a bit less warm.