Film Music Although the Spanish film are numerous musical films, has not developed a genre of its own, serving the music, in most cases, only to promote a popular singer or a star fashion, although worthy exceptions are films in which music functions as a kind of pretext that allows other stories, that is the case, for example, in the court of Pharaoh (Jos Luis Garc a S nchez, 1985) or The Girl of Your Dreams. Film folk subgenre is one of the most cultivated by Spanish filmmakers. appears with the birth of sound with the intention to exploit the fame of the singer and folk dancer of the moment. Chronologically, the first stars that stand out are Imperio Argentina, Estrellita Castro and Concha Piquer, which dominate the thirties and early forties starring in films directed mostly by Florian Rey and Benoit Perojo.The forties, although it is the fame of the stars of the past decade, is dominated by Juanita Reina, who stars in films directed by Juan de Ordu a and Luis Lucia. The fifty begin with the domain of Juanita Reina, but the duel of the decade will be the protagonists of Lola Flores and Sara Montiel, whose hegemony was extended to the next decade. Lola Flores had made films in the late forties, as Bewitched (Carlos Serrano de Osma, 1947), with his then partner, the singer Manolo Caracol. For its part, Sara Montiel (although not exactly a folk may be included in this section by the structure of his films), who had been involved in supporting roles in films of the forties and had tried a career in Hollywood, he joined Olympus film following the last couplet (Juan de Ordu a, 1957), the most successful Spanish film to date.At this time, and with less impact than the two stars above, would also be before the cameras Marif Paquita Rico and Triana and others. During the sixties and seventies, despite the shootings continue starring Sara Montiel, Lola Flores, Paquita Rico and Marujita Diaz, there is a decline of the genre but he joins an ascending figure, Rocio Jurado, who interpreted several films . Gender, virtually disappeared in the eighties, has a last moment of success with films starring Isabel Pantoja: I am that (Luis Sanz, 1990), which is close to one million viewers and a half, and the day I was born ( Pedro Olea, 1991), with lower box office results. However, the success of these makes other folk back to the screen in projects to go beyond simple catalog of songs filmed as is the case with Rocio Jurado with a new version of La Lola is going to ports (Josefina Molina, 1993).Finally, the genre would become overwhelming honored at -2.5 million viewers, “The Girl of Your Dreams (Fernando Trueba, 1998), a comedy inspired by the adventures of the folk who worked in the German film studios late thirty. Film zarzuela The quintessential Spanish musical genre has been made into a film with variable success, although it is a genre that has long since left the Spanish filmmakers. El chico, as well as calling the zarzuela, linked to the Spanish cinema almost from the beginning because, paradoxically, there are silent versions of Spanish operettas as The Beautiful (Second Chom n, 1910) or La verbena de la Paloma ( Jos Buchs, 1921). Zarzuela latter would have a second version, very successful (Benito Perojo, 1935) and even third (Jos Luis S enz de Heredia, 1963.Another musical theater singers of the moment, as Raphael, The Braves, Julio Iglesias or Men G had the opportunity to develop short film careers in films made as vehicles for promotion. There was, however, songs that went beyond the action in two or three shootings such as Manolo Escobar who starred in more than a dozen titles, and Luis Mariano that his voice would look like the remake of operettas Imperial Violets (Richard Pottier, 1952) or The Dream ofAndalusia (Luis Lucia, 1953).