Hottoceame The Age of Commercialism

VividSimon Simply Perfect

Gutsycurene Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.

Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

adrian-43767 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.

guedesnino "Bellissima" is structured in a circular and ephemeral plot. Their conflict, which becomes stronger as a situation, is mimesis of reality, of stories so close and common but diversified. In short: the human desire to overcome poverty, even if we stimulate exploitation even more.The timeless character of this film made in 1951 by Luchino Visconti, is already clear in its synopsis: The story of Maddalena (a nurse), who inscribes his daughter Maria, in a contest that aims to elect the most beautiful girl in Italy. The contest represents a ticket to give the daughter a life that oscillates between dignity and luxury, being that mother-protagonist, ready to everything to guarantee the victory of the daughter.In a large part of this story that sometimes takes situations and absurd moments, facing a desire that borders the limitations of vision, rationality and absurdity when showing the starting points, play and finalize this saga. That is drawn by a mother motivated by the future of her daughter, this dramatic dimension that is characteristic to the film, if diluted wisely in moments of comedy. Maddalena's attitudes are laughable, all the more so as in the lack of artistic talent of her daughter. This laughs at the other, the role of a fool that plays this mother not to notice in the daughter who lacks other attributes, and the belief that the beauty of the girl, added to the interference of this mother, as in trying to buy the jurors or get someone inside the Production of the film that highlights the test of Maria, that this sum can interfere in the result and consecrate in the victory of Maddalena through the small daughter.With all the merits of a timeless story, and without regret the fact that the director had in hand a material very close to the neo-realist films that consecrated him, that is, to have something very close to the style that was customary to do, but that is Rejected in "Bellissima", approaching this story through the realistic bias, in which, personally, I consider that it was desirous to the producers of the film and to the director to present a more comprehensive aspect of the fable, considering the common character of this story, that happens and repeats itself In life, and which is now reflected on canvas, but which, in abandoning a reflection of this realism pertaining to a certain social reality, generates a filmic approach that equates maternal desires, however, disproportionate and invalid in face of class differences and consequently incapable of generating Changes, or results, how can you compete with a family that already has a wide advantage? This inequality of classes is mentioned and treated very superficially in the small plots in which they are presented, this minimizes the strength and potentiality of Visconti and Bellissima, since the approach in which it is presented (its form), makes it impossible for itself speech. The struggle to overcome class differences, through methods that reinforce and contribute to these differences. In truth, the mother does not struggle to overcome anything, she wants only to belong to something, and in the end, when she perceives this world of cruel differences that she admired and in which she ended up collaborating, it becomes, then, the moment of rationality and revolt of Maddalena. In portraying cinema as a microcosm of a prosperous world in advantageous possibilities, Visconti satirizes the film industry itself and human innocence in the face of its belief in possibility and belonging. This belief that induces the ability to use mechanisms, but is already dominated by commercial interests, which among others, result in the strengthening of class differences and simulate a fantasy world, such as the cinema and its benefits.The entire film is anchored by the magnetic and fascinating performance of Anna Magnani, who fills the entire screen with a fiery vitality and intensity that is almost impossible to look away. In 1951, she was one of the queens of Italian cinema and was already echoing all over the world. Anna was the favorite actress of Bette Davis, and Bette considered Anna's performance in "Bellissima" as: brilliant, uninhibited and full of immense power. There is hardly a moment in the movie where it is still or silent. Visconti, almost exclusively, records Anna in medium and full planes, giving her ample room for compositions and promoting seams from one end of the frame to the other.Between several scenes of fade-in and fade-out that stitch together the film, between jumps of episodic events that collaborate for the construction and the outcome of the plot, it calls the photographic proposal of Piero Portalupi and Paul Ronald, who basically establish a climate of life Obscure in the apartment of Maddalena, in contrast, the reflectors and dazzle of lights of the "Cinecittà", a directing of light that directs not only the convicted desire of Maddalena, but with only enlightened path that offers a perspective, a way out that life between Shadows Another great moment of mastery of this photograph is in the game between half light that illuminates faces or that highlight one among many others, a clear allusion to the pursuit of brilliance and own light that dialogue and much for the construction of "Beautiful".Although not the most interesting film of Visconti, and leaving aside many of the brands that have consecrated it, "Bellissima" is an interesting work and that dialogues with the contemporary world, and possibly dialogues with the future world, since between the social differences Which we both struggle to overcome, are often unconsciously reinforced through a selfish struggle that seeks only to save some and not realize that it will only result when we understand the need for a whole. Luchino Visconti was able to write for our eyes, an important social and cultural document that reflects on yesterday, analyzes the present and provides paths for tomorrow.

Turfseer 'Bellissima' begins with a radio presentation of Donizetti's opera L'elisir d'amore (The Elixir of Love). In it, a poor peasant, Nemorino, falls in love with Adina, a beautiful landowner. He relies on a charlatan's magic potion that he believes will help him to gain Adina's love. We're suddenly interrupted by an announcement of a casting competition for (real-life) director Alessandro Blasetti, who is searching for a child, age 6 to 8, to star in his latest film. 'Bellissima' is heralded director Luchino Visconti's third film and he wastes no time in introducing us to the crazy world of the Italian film industry, where a large gaggle of star struck stage mothers accompanied by their little tots are attempting to get their 'big break' in the movie business.Perhaps the most determined of all the mothers is our protagonist, Maddalena Cecconi, played by subsequent Oscar winner, the superb Anna Magnani. She lives in a working-class tenement with her equally 'passionate' husband, Spartaco, who both appear to be good parents to little Maria, the unprecocious child who Maddalena is convinced is the next 'Shirley Temple'. Like Nemorino in Donizetti's opera, Maddalena needs a magic potion to escape the drab existence which she perceives is her life—and that magic potion is the film contract which will enable her to live vicariously through her daughter's success. If Spartaco tries to convince his obsessed wife that motion pictures are just a 'fantasy', Maddalena will have none of it—every week there's another Hollywood picture projected on the big screen in the building's courtyard and Maddalena is enraptured whenever a big actor like Montgomery Clift makes his captivating appearance.Back to the initial auditions: Maddalena finally finds little Maria with her soiled dress by a pool—the rest of the stage mothers have already been let in to the studio and a seemingly kind director's assistant, Alberto Annovazzi, manages to get Maddalena and Maria inside the doors, despite the late hour.We break into Act II when Maria is chosen for a call back audition. Visconti doesn't only affectionately ridicule the naïve Maddalena but Italian society in general, obsessed with their own self-interest. It begins with an older washed-up actress who shows up at Maddalena's door insisting that she has the ability to polish the little one's act and ensure she wins the film competition. Later Spartaco kicks the woman out of the house, but up until that point, Maddalena doesn't question her credentials, only hoping that the woman's instruction will give her little one, an edge.Due to her naivety about the film business, Maddalena is often gullible with those she interacts with; but she's also stubborn and aggressive. The obsessed mother butts heads with a photographer referred to her by Annovazzi and a dress maker, who hilariously doesn't buy into taking injections for preventative health (Maddalena works a nurse and gives injections to diabetics). More funny stuff: a hairdresser allows his young son to cut Maria's pigtails and Maddalena expects instant results during initial ballet lessons (dig the crazy ballet director's absurd dance across the studio floor!). There's also a great scene where Maddalena accuses Spartaco of beating her—the gossipy neighbors get in on the act, and take Maddalena's side (in contrast to their constant criticism of her).Visconti throws in a nice twist when Annovazzi hits Maddalena up for the 50,000 lire which was going to be used for the purchase of a new house. Annovazzi tells Maddalena he'll use the money to make the necessary connections to ensure Maria gets the screen test. The twist is that Maddalena doesn't seem to mind that he used most of the money to buy a scooter for himself. And when Annovazzi tries to seduce Maddalena during a visit at her mother-in-law's, Maddalena also isn't perturbed at all—she dismisses it as men's 'typical behavior'.Before the classic denouement, Maddelena meets a woman who she recognizes as a former actress in a couple of director Blasetti's movies. She warns Maddelina that the move business isn't what it's cracked up to be. After acting in two films, she didn't get anywhere, so she took the more mundane job as a film editor. Still, Maddalena is undeterred and believes there's still a chance Maria might be selected. So she finagles her way up the projection room and watches the rushes. To her chagrin, Maria breaks out crying during her screen test. Blasseti's colleagues (including Annovazzi) find this uproarious and burst out laughing. Maddalena confronts the director and chastises him and his colleagues for their bad behavior. Blasseti basically agrees with Maddalena and fires Annovazzi on the spot. But that's not enough to assuage Maddalena's hurt feelings and she storms off.At this point, Maddalena's world is shattered. Sitting on park bench, she clutches Maria and cries out, 'Help'. Back at the studio, Blasseti watches the rushes again and improbably sees a different Maria. Before you know it, the studio executives are offering Maddalena and Spartico a contract for Maria to star in their next picture. But Maddalena, no longer living in the world of illusion, does the 'right thing' and tells the executives that the film business is not for her daughter or for the rest of the family.Most of 'Bellissima' I would describe as comic but there are moments (particularly the ending) which are more touching and poignant. On occasion, the constant bickering between some of the characters, goes on a little too long but for the most part, Visconti's narrative displays brilliant insights into the unfortunate human phenomena known as selfishness. The many layered, brilliant performance of Anna Magnani and the supporting players is the type of acting you rarely see anymore. This is a film that I highly recommend for those who enjoy watching classic cinema.

BlueGreen A wonderful, poignant masterpiece by the great Visconti and Anna-the-Great-Magnani. On the surface, it is a simple story about a mother's obsession to use her little daughter's appearance to escape the poverty of post-war Italy. What transpires is the cruel truth about the beauty- and illusion-making industry (cinema), with all its inherent cynicism, at a time when hunger for the daily bread was equaled by hunger for fantasy and beauty.I've seen this movie only once, ages ago, and it still remains with me as one of the most unforgettable films I have ever seen. In a world that has seen hundreds of thousands of films that is no small feat.