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Bellissima (1951)

Not Rated | | Comedy, Drama | October 1953 (UK)
A woman from the low class desperately tries to get her daughter into the movies.

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Writers:

(story), (screenplay) | 2 more credits »
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Cast

Cast overview, first billed only:
...
...
Alberto Annovazzi
Tina Apicella ...
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

Taglines:

Italy's Greatest Actress in her Prize-Winning Performance! See more »

Genres:

Comedy | Drama

Certificate:

Not Rated | See all certifications »
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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

Runtime:

Sound Mix:

(RCA Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The poem Maria recites is "Addio a Venezia" (1849) by Arnaldo Fusinato. See more »

Connections

Referenced in Fantozzi alla riscossa (1990) See more »

Soundtracks

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

 
Larger than life
31 December 2013 | by See all my reviews

This is a very small story--a poor woman tries to make her daughter a child movie star--but it has a tremendous, operatic performance from Anna Magnani. Magnani is like all other stage mothers in that the success she desires for the child is really her frustrated ambition for herself (her tiny daughter has no interest in acting, and whines and cries all through the picture), but unlike them in that she never loses her sense of humour. When she realises she has been cheated, instead of becoming outraged, she laughs at her own foolishness, briefly relaxing from her usual blind intensity to become a normal, likable woman.

Her character's desperation to escape her life is understandable when one sees the dump she lives in with her husband and child. The small, dilapidated flat with stained walls, in a building full of fat, sour- faced harpies in hideous housedresses--one never sees such horrors in Hollywood films. Too bad this neo-realism became old-style realism--we could use some of this today as a counter to the candy-floss world we see on TV and in the movies.

One amusing note: The film-struck Magnani says at one point to her husband, "Oh, Burt LanCASter! Molto gentile!" Three years later Lancaster would be playing her lover in The Rose Tattoo.


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