A woman from the low class desperately tries to get her daughter into the movies.

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Cast

Cast overview, first billed only:
...
...
Alberto Annovazzi
Tina Apicella ...
Maria Cecconi
Gastone Renzelli ...
Spartaco Cecconi
Tecla Scarano ...
Tilde Spernanzoni
Lola Braccini ...
Photographer's Wife
Arturo Bragaglia ...
Photographer
Nora Ricci ...
Laundry Worker
Vittorina Benvenuti
Linda Sini ...
Mimmetta
Teresa Battaggi ...
Snob Mother
Gisella Monaldi ...
Door-keeper
Amalia Pellegrini
Luciana Ricci
Giuseppina Arena
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Storyline

Film director Blasetti is looking for a little girl for his new movie. Along with other mothers, Maddelena takes her daugther to Cinecittà, hoping she'll be selected and become a star. She is ready to sacrifice anything for little Maria, even if her husband would prefer they save their little money for the rent, instead of paying teachers, hairdressers or bribes for her illusions. Written by Yepok

Plot Summary | Add Synopsis

Genres:

Comedy | Drama

Certificate:

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Details

Country:

Language:

Release Date:

October 1953 (UK)  »

Also Known As:

Bellísima  »

Company Credits

Production Co:

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Technical Specs

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

In the final scene, Anna Magnani hears the film playing outside her room and remarks that she hears Burt Lancaster. Magnani would win an Oscar four years later for The Rose Tattoo, in which she would costar with Lancaster. See more »

Connections

Features Red River (1948) See more »

Soundtracks

L'elisir d'amore
(excerpts)
By Gaetano Donizetti
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User Reviews

 
A tour-de-force
6 August 2006 | by (Derry, Ireland) – See all my reviews

Anna Magnani is magnificent as a pushy show-biz mother determined to get her daughter into the movies. She's like an early prototype of Bette Midler but she's more down-to-earth and with a greater propensity for feeling. (Midler could do the comedy but not the pathos). The film is charming but for a Visconti movie, it's slight. It's a great director's trifle about the movies; he enjoys poking fun at the stereotypes he's worked with in more serious films. It's laugh out loud funny.

The film doesn't offer any insights into the movie-making process and even the wheeling and dealing seems perfunctory. At times you wish maybe Visconti had gone a little deeper. (At the end he makes a point that the movies can be shallow but we know that already). Take Magnani out of the equation and there really isn't much left. She's the life-force that holds it together. It really is a great piece of acting.


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