Bellissima (film)

• Anna Magnani: Maddalena Cecconi
• Tina Apicella: Mary, her daughter
• Gastone Renzelli: Spartaco, her husband
• Walter Chiari: Annovazzi
• Alessandro Blasetti: he himself

Bellissima from 1951 is the third feature film by the Italian film and theater director Luchino Visconti. The screenplay he wrote based on an idea by Cesare Zavattini Suso Cecchi D' Amico, along with and Francesco Rosi. The co-authors of the applied remote while Zavattini sentimentality of the story, which is located in contemporary Rome. Anna Magnani plays a spirited, eruptive nurse who wants to make her talent -less daughter to movie star to break out of their circumstances. For this goal they sacrificed her savings book and expected the child too much.

Quakes Despite the financial failure of the Earth suggested producer Salvo d' Angelo Visconti, together to achieve even a movie set with Anna Magnani, wanted to work with the Visconti quite some time. Visconti shows Magnani in settings that they, along with the show surrounding space, wherein the film has a very realistic features. The film director Alessandro Blasetti occurs Himself in need of a child for a role for a ( fictional ) film project. Bellissima is the only predominantly held in comic tone length film in Visconti's oeuvre. He created a satire on the movie business, at Cinecitta and caused cinema from illusions, where he does not excludes the representatives of the neo-realist style of criticism, in particular their use of " authentic " non-professional actors. The work was seen at the Berlin Film Festival in 1952, but only came in 1960 in the German cinemas.

Background

The end of the original template of Zavattini was similar to that of bicycle thieves. As there, the little boy takes his father 's hand and leads away, the little daughter should take her humiliated mother comforting to the hand here. The scene in which the film people about the botched test shots of the little girl, where they burst into tears, laugh, Wolfram Schütte designated as central: " The laughter of the movie people on a real, non- played feeling of fear and aloneness announces a solidarity of compassion and feeling, of the once thought of (early ) neorealism, is to find his real fulfillment. What remains is commercialized it in his late phase, only cynicism. " Visconti's criticism also applies Blasetti, does not laugh, unlike the other film people about the girl. Because Blasetti believes " to be able to exploit this undisguised child better for his film because it believable and true to life than the spruce dolls that he has otherwise seen."

Criticism

The filmdienst described the film in 1954 as " psychologically closely monitored and so full of human warmth that we must speak of an example ". Visconti had his leading lady conceded the right weight: The "extraordinary " Magnani " dubbed anyone who enters disturbing in the world they to the brim fills [ ... ] But not like that they crushed all the life around him. It has emerged a whole that is close to reality. "