Bellissima (2018)

Thanks for the memories!

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

I am a great admirer of Luchino Visconti, so it saddens me to say that I did not like this film. Of course, with an actress of Magnani's quality, you do not walk away empty-handed, she excels in parts, but is ultimately stereotyped by the "earthy Italian female" character, one who remains sexually virtuous in spite of other questionable behavior, and puts herself in unnecessary situations that erode her reputation in the eyes of husband and acquaintances. The script is thin, in spite of interesting asides involving her relationships with child, husband, and would-be lover. B&W photography is standard, downright unimaginative but effective. Acting is the film's best asset but, as far as I am concerned, does not save it - especially because the ending is so obvious and long-winded.It is interesting to compare BELISSIMA with LITTLE MISS SUNSHINE, as both focus on beauty/singing competitions for young girls. Granted, LITTLE MISS SUNSHINE was done 50 years later, but it flows far better and its ramifications are far wider and more meaningful.

***Spoiler alert*** Anna Magnani is a force of nature in this movie. As Maddalena, she laughs, she cries, and kisses 50,000 lire goodbye, all in an attempt to make a better life for her young daughter. She thinks that future is in the movies, and Maddalena is the ultimate stage mother. La Magnani dominates any and every scene she's in. One remarkable scene is when she pushes her way into the screening of her daughter's screen test: she recognizes an assistant who had acted in a film called "Under the sun of Rome" (Sotto il sole di Roma). This is an actual film, and as I had just seen it last week (it's the season of Neorealism for me), I recognized that the actress was indeed the female lead in that earlier film. The assistant describes how she's dropped out of acting because no director has hired her lately, which starts to undermine Magnani's dream for her daughter. A remarkable bit of verisimilitude, and causes all kinds of alienation effects. Great film, great performances, including the actor who played Maddalena's husband (in another brilliant touch, named "Spartaco"!)

Luchino Visconti's third feature film, Bellissima (1951) is without a doubt his key work. In this film Visconti's common themes and the basis of his art are portrayed. Bellissima is a very realistic film; the first observation of Visconti is the alienation of man -- that's why he locates his characters in social relations. Luchino Visconti was able to trap his characters into their own existence. The characters are prisoners of their own environments. Bellissima is a very beautiful film, but the beauty doesn't come from picturesque images or incredibly misery. The beauty comes from the way how the film is able to honor people in all situations. Bellissima is a tribute to life and innocence.A director announces that he needs a 6-8 year old girl to play a role in his film. Just like hundreds of women, Maddalena Cecconi drags her daughter to the audition. The dream of her daughter's career puts everything else aside; their family savings are spent to the girl's ballet lessons and new dresses. Maddalena is blinded by fame, fortune and romantic illusion. But in the end the cruelty and superficiality of the industry make her realize what really matters.A common feature in the films by Visconti is the escapism of drama. Anna Magnani's character escapes to the world of cinema, watching John Wayne and Montgomery Clift's adventures in Howard Hawks' Red River. Through cinema she denies her responsibility -- cinema is her redemption. This refers to Maddalena Cecconi's relationship between her daughter. She is completely alienated from her and by taking her to the world of cinema, she tries to escape the problematic milieu, combine reality and fiction; to make ugly look beautiful. But Maddalena is actually only changing her alienation to another form.The film exudes social reality, the one which forces one to act. It seems like the only way to keep your purity. But eventually one will leave this aesthetic life behind and realize the true dignity of man. Anna Magnani's character has been blind her whole life, for many years. But the cruelty of the film industry suddenly makes her realize this deep dignity. The ending of Bellissima is absolutely beautiful; the camera chases through the apartment and takes a close-up of the girl asleep. This is the first time fiction, fantasy and illusion have been forgotten; now only the true innocence and beauty are revealed. The true beauty of life.

In a post-war Italy, Maddalena Cecconi (Anna Magnani) is a woman from the lower classes abused by her husband Spartaco Cecconi (Gastone Renzelli), who is obsessed to make her young daughter Maria (Tina Apicella) a star in the cinema industry. She expects a better life for Maria, and she sacrifices her marriage and her savings paying interpretation and ballet teachers, dress, hairdresser and bribe for the small time crook Alberto Annovazzi (Walter Chiari) to make her dream come true. When the director sees the test of Maria, Maddalena realizes the reality and cruelty of the entertainment industry."Belissima" is a beautiful tale of disillusion. Anna Magnani has a magnificent interpretation in a role of a very poor mother and frustrated woman, spanked by her husband, trying to give a better life for her young daughter. Living nearby a movie theater, she sees the opportunity when a famous director is chasing a young talent for his next movie. Her characters gives the best effort within her short culture and vision trying to make her dream comes true, being very touching the moment when her dreams are shattered. The direction of Luchino Visconti is precise and flawless as usual, and the story is very real and credible. My vote is eight.Title (Brazil): "Belíssima" ("Very Beautiful")