La hermana alegría

Soledad is sent to a women's reformatory run by quietly devoted nuns who focus on the welfare of their charges. Among them is Sister Consolación, a lighthearted and unconventional sister who uses oddball but effective methods to help the girls move past earlier mistakes and build new habits. Soledad warms to the community quickly and reveals a personal hope linked to Fernando, an attractive Andalusian known for his womanizing ways, whom Sister Consolación happens to know. The film follows the interplay between discipline, affection, and a flirtatious subplot, keeping the tone mostly comic while avoiding heavy moralizing.

La hermana alegría was released in 1955, directed by Luis Lucia and written by Luis Fernández de Sevilla and José Luis Colina. The picture stars Lola Flores in the title role, supported by Susana Canales, Elvira Quintillá, Manuel Luna, and Virgílio Teixeira.

Box office receipts aren't well documented for this film. It appears to have had a modest domestic run in Spain on release, without a significant international distribution or widely reported grosses.

The film tapped into Lola Flores' established screen persona, blending song, charm, and comic timing. Sister Consolación became a memorable comic foil, and the movie slots into the broader tradition of midcentury Spanish comedies that mix light romance with social settings. Elements of the picture have persisted in discussions of 1950s popular cinema in Spain, especially among fans of Flores.

Critical response was mixed, reflected in a modest user rating of 5.1/10 from a small sample of viewers. Reviewers at the time tended to note the film's warm humor, the strength of the cast, and a simple moral thrust toward rehabilitation and social reintegration. Major themes include forgiveness, female solidarity, and the contrast between strict institutions and gentle human care, all handled with a light, sometimes farcical touch.