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  1. Screenshots. Bellissima (1951, It.) In director Luchino Visconti's neo-realistic, satirical comic drama about the Italian film industry: the star role of Anna Magnani as a working class, determined, desperate and nervous wanna-be stage mother Maddalena Cecconi, who was hoping that her only child - 7 year-old daughter Maria (Tina Apicella) would ...

  2. 12. Apr. 2012 · Although 1951’s Bellissima seems to be frequently overlooked and underrated in the filmography of Luchino Visconti, it could be his greatest achievement. Featuring an unforgettable performance ...

  3. 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,...

  4. Bellissima. Bellissima. Italy, 1951. Film Komödie Drama. Maddalena lebt in bescheidenen kleinbürgerlichen Verhältnissen. Ihr Traum: Sie möchte aus ihrer Tochter einen Filmstar machen. Als sie mitbekommt, dass ein Regisseur auf der Suche nach einem kle ...

  5. 1. Juni 2021 · Bellissima 1951 Italian Neorealism. Bellissima is a 1951 Italian neorealist drama film directed by Luchino Visconti and starring Anna Magnani , Walter Chiari and Tecla Scarano. The film is a satire of the postwar Italian film industry, and particularly the dreams of stardom encouraged by the neorealist movement which plucked out ordinary ...

  6. However, ‘Bellissima’ was a film released well over fifty years ago at a time when the world was adjusting back to normality after the war, and where cinema was most people’s main outlet for entertainment and in particular the working classes. This illusion of joy and escapism is shattered in such a way, that it would have no doubt shocked audiences, Italian audiences in particular.

  7. "Bellissima" ist der dritte Spielfilm des bedeutenden italienischen Regisseurs Luchino Visconti. Hier drehte er nach einer Novelle von Cesare Zavattini, der als "Ideologe des Neorealismus" galt und viele Vorlagen zu frühen De-Sica-Filmen schrieb, auch für "Fahrraddiebe". Die unsentimentale, fast ironische Zeichnung der ehrgeizigen Maddalena ...