El amor solfeando (1930) - Too much singing, not enough secrets

Is it worth the watch?

If you enjoy 1930s movies where the microphones feel like they were hidden in a flower pot, maybe. Most people will probably find it way too loud for a movie about secrets.

Fans of early Spanish cinema will dig seeing a young Imperio Argentina. Everyone else will wonder why the characters keep shouting their lines.

Ribera is this singing teacher who seems constantly annoyed by his own life. He lives right next to Fernando, who is definitely not a good neighbor.

Fernando is having an affair with Sara. The problem is Sara is married to Enrique, and in 1930, that was a huge deal.

The whole movie feels like it takes place in about three rooms. You can almost see the actors trying not to trip over the furniture.

Since this was 1930, the sound technology was... let's say, experimental. Sometimes the singing is so sharp it actually makes your ears ring a little.

There is a scene where Ribera is trying to get a student to hit a note. The student sounds like a cat being stepped on, and it goes on for way too long.

I think the director, Robert Florey, wanted this to be fast-paced. Instead, it feels like everyone is waiting for a signal to speak.

There is one moment where a character enters a room and just stares at the wall for three seconds. It’s not dramatic; it just looks like he forgot where the exit was.

Cinematic perspective: Exploring the visual vocabulary of El amor solfeando (1930) through its definitive frames.

The costumes are actually pretty great though. Lots of high collars and hats that look like they weigh ten pounds.

It reminded me a little of Lucretia Lombard because of the heavy-handed drama, but with much more singing. And fewer fires.

The whole "thin walls" thing is the best part of the movie. You can hear the affair through the wall while the singing lessons are happening.

It creates this weird overlapping noise that is actually kind of funny. I don't think it was supposed to be that funny, but here we are.

It lacks the visual energy of something like Filibus. It’s much more static and stage-bound.

She is clearly the star here. Even when the script is being boring, she has this way of looking at the camera that makes you pay attention.

The rest of the cast is... fine. Valentín Parera looks like he’s trying very hard to be a leading man.

Final Thoughts

It’s a bit of a slog if you aren't into old-school musicals. The pacing is weirdly jerky, like a car that won't start.

If you’ve seen The Primrose Ring, you know how these early melodramas can feel a bit sugary. This one is sugary but with a lot of yelling.

• The piano player looks like he's actually asleep in one shot.
• One of the doors clearly doesn't latch properly when it's closed.
• The mustache on Fernando is slightly crooked in the final scene.
• The way they hold their sheet music like they're afraid it'll bite them.
• There's a dog in the background of one outdoor shot that looks very confused.

Is it a masterpiece? No. But it's a fascinating mess of early sound cinema. Just turn your volume down before the singing starts.