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Bellissima (1952) Full Movie

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Bellissima (1952)

Film director Blasetti is looking for a little girl for his new movie. Along with other mothers, Maddelena takes her daughter to Cinecittà, hoping she'll be selected and become a star. She is ready to sacrifice anything for little Maria.

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5 Comments

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Iana D 04 Aug 2009

Eternal topic - Mom seeks realization through her child, the illusory dream of stardom. Classic aesthetics. Top-brass acting. Anna Magnani at her best as noisy passionate Italian mother. Whoever can still make it to Flagey in Bxl this summer shouldn't miss out on this wonderful Visconti.

Dennis T 13 Aug 2007

Great Magnani rocks the world in one of Viscontis absolute master pieces. The screening-room scene is the most beautiful scene in a film about film ever.

Nino G 21 Feb 2017

Meet the queen of all vainglorious showmoms, Maddalena. Her eyes will haunt you, the context of her actions will disturb you, the pity she seeks will disgust you. The ending is extreme and frustrating. Maddalena has learned her lesson, but at the cost of everything and everyone. Now, finally, when she needs it, she won't sell out. She's managed to help her husband arc into a more sensitive, less abusive person - he'd previously been vilified. They both had their fair share of villainy. The two end shots are perfect, on the parents' embrace, and the coda push-in on their child.

Penelope Houston 18 Jun 2018

It lacks the emotional validity needed for the denouement.

Evan K 09 Feb 2016

An interesting part of this film was the scene when Maria is crying during the filming of the screen test. The camera is on Maria and her mother in the projector room when suddenly it shifts to the screen they are watching. The viewer is now presented with an extreme close-up of Maria. This is similar to the ending scene in The Bicycle Thief when the audience comes face to face with an intense, close-up shot of Bruno. This seems characteristic of neorealism filmmakers to isolate a child in a dramatic way. Bellissima was primarily characterized by medium shots in which the figures and parts of the background were visible. However, in this dramatic shot featuring Maria, it is clear that Visconti wanted to not only visually confront the viewer but also emotionally confront the viewer. Moreover, this tactic visually cues the viewer to recognize that the climax is taking place.