22 отзывов пользователей o Bellissima B21 100 (11464X)
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Алексей
29.09.2021
10/10
Оценка пользователя
Великолепно
отличная модель
Так как часто бываю в поездках, то беру его с собой, он достаточно компактный и удобный. При желании таким утюжком легко и быстро можно создать красивую прическу. Что-то типо из 70-х. Я очень довольна этими щипцами. Чудесный, качественный и надежный! За столько времени использования, он меня еще ниразу не подвел. Корпус устройства произведен из долговечного пластика, не подверженного износу и деформации. И это действительно так. В конструкции есть специальная петля, с помощью которой щипцы можно повесить на крючок. Что я собсвтенно и делаю. Вообщем, девочки, вариант просто бомба.
Людмила
25.07.2021
10/10
Оценка пользователя
Великолепно
отличная модель
Цена у данного выпрямителя просто идеальная. Никогда бы не могла подумать, что хороший товар будет так дешево стоить. Предыдущие выпрямители попортили волосы, но у этого керамические пластины, за счет того, что они удлиненные и узкие, легко скользят по волосам, прибор быстро выпрямляет, а когда этого требует какое - либо торжество еще и крутит красивые локоны! Огромный плюс этого утюжка в том, что он быстро нагревается до 180 - 200 градусов. Так же шнур достаточно длинный около 1.5 - 2 метра, что удобно. На выпрямление волос уходит в среднем 10 минут. Волосы у меня чуть длинее плеч.
IZZY
12.01.2021
10/10
Оценка пользователя
Великолепно
Magnani At Her Best Sans The Release Of The Rose Tattoo
A wonderful black and white foreign film outstandingly played by Anna Magnani and directed by the renowned italian director Luchino Visconti. Anna was simply volcanic as a determined but dedicated stage mother who stopped at nothing to get her young daughter into the movies during post WW2. Overall an intense but poignant film thanks to the strong willed performance by Magnani.
The CinemaScope Cat
12.01.2021
10/10
Оценка пользователя
Великолепно
Another sensational Magnani performance!
A fierce and determined stage struck mother (Anna Magnani) enters her daughter (Tina Apicella) in a studio contest looking for a little girl to star in their next movie, even if it means destroying her marriage. While not a comedy as such, there are some devastating dramatic moments, one doesn't normally associate Luchino Visconti with wit and humor. This is perhaps his most sentimental (in a good way) film. Visconti turns an agile eye on the lure of the movies and how it grips those who want to be a part of it. When Magnani watches an outdoor screening of Hawks' RED RIVER, we can see how she's transformed by cinema and all its promises. Magnani is, of course, the driving force of the film (Bette Davis called her performance brilliant). She's spectacular and perhaps no other actress defines force of nature more than Magnani. With Walter Chiari, Gastone Renzelli, Tecla Scarano and the director Alessandro Blasetti playing himself.
The e-one DVD is a crisp B&W transfer in the appropriate 1.33 aspect ratio. In Italian with English subtitles.
The e-one DVD is a crisp B&W transfer in the appropriate 1.33 aspect ratio. In Italian with English subtitles.
Arthur
12.01.2021
10/10
Оценка пользователя
Великолепно
Five Stars
I am very happy with this product
g.c. guy
12.01.2021
10/10
Оценка пользователя
Великолепно
Visconti and Mangani
as a stage mother. Do I need to say more?
John R
12.01.2021
10/10
Оценка пользователя
Великолепно
Five Stars
Powerhouse Anna Magnani - incredible film by Count Visconti!
S. Miller
12.01.2021
10/10
Оценка пользователя
Великолепно
Good Italian movie
I loved it
T
12.01.2021
10/10
Оценка пользователя
Великолепно
I love Anna Magnani one of the finest actresses
Unfortunately , I wasn't able to view this without a lot of major interruptions . Kept going out and I did receive my money back. I love Anna Magnani one of the finest actresses , even better in my opinion than Sophia Loren. She is the best and this movie is one of her finest.
Nonna
12.01.2021
10/10
Оценка пользователя
Великолепно
Anna
This black and white film complements the intensity of fabulous Anna Magnani. She is dynamic, intense, driven as she pursues a film career for her daughter in Post-War Italy.
Indian music lover
12.01.2021
10/10
Оценка пользователя
Великолепно
Criterion Collection: come on - this movie needs US release
I totally agree with the other reviewers: this is a great Visconti film and one of the finest performances from La Magnani. Why has the Criterion Collection not obtained the rights for this film and created a version for the USA?
Bill
12.01.2021
10/10
Оценка пользователя
Великолепно
Five Stars
Works great. Is as promised
amelia antonucci
12.01.2021
8/10
Оценка пользователя
Хорошо
Four Stars
beautiful movie! In a very pristine copy.
David Pakter
12.01.2021
10/10
Оценка пользователя
Великолепно
BELLISSIMA- FIVE STARS BUT DESERVING OF 10 STARS
One of the truly GREAT Masterpieces of Italian Film.
The Immortal, Anna Magnani Directed by Master Film Maker, Luchino Visconti. 1951
Such a combination is virtually inconceivable today-2017.
No "special effects" needed. Made when Giants walked the sound stages of Cinecittà Film Studios in Rome.
Cinecittà can be credited with giving Italy a place on the world cinema stage and allowing auteurs such as Luchino Visconti, Federico Fellini and Bernardo Bertolucci to develop their careers.
In the world of both Italian Film as well as International Film, BELLISSIMA, starring ANNA MAGNANI, and Directed by LUCHINO VISCONTI is the standard by which ALL Great films are now judged.
Shattering in its power, with stellar Performances by the entire cast, it has the power to break through into even the hardest and most jaded Heart.
In the world of Cinema- BELLISSIMA is as good as it gets- or ever will get, for that matter !
The Immortal, Anna Magnani Directed by Master Film Maker, Luchino Visconti. 1951
Such a combination is virtually inconceivable today-2017.
No "special effects" needed. Made when Giants walked the sound stages of Cinecittà Film Studios in Rome.
Cinecittà can be credited with giving Italy a place on the world cinema stage and allowing auteurs such as Luchino Visconti, Federico Fellini and Bernardo Bertolucci to develop their careers.
In the world of both Italian Film as well as International Film, BELLISSIMA, starring ANNA MAGNANI, and Directed by LUCHINO VISCONTI is the standard by which ALL Great films are now judged.
Shattering in its power, with stellar Performances by the entire cast, it has the power to break through into even the hardest and most jaded Heart.
In the world of Cinema- BELLISSIMA is as good as it gets- or ever will get, for that matter !
Turfseer
12.01.2021
8/10
Оценка пользователя
Хорошо
Do the right thing, Italian style!
*** This review may contain spoilers ***
Rating: 4.5 out of 5.0
'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.
Rating: 4.5 out of 5.0
'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.
technoguy
12.01.2021
10/10
Оценка пользователя
Великолепно
"Magnani full of volcanic,earthy power..tender,stirring" (BetteDavis),
Visconti is the most emotive and extravagant of the Italian neo-realists.Bellissima an early film has been restored to an amazing print by The Masters of Cinema series.Somewhere between the neo-realism of La Terra Trema and the baroque stylizations of The Leopard and Death in Venice lies the stylized realism of Bellissima.He loved working with stars(Bogarde,Lancaster) and he'd always wanted to work with Anna Magnani.From a story by Zavattini(a neo-realist writer) set in post-war Italy,Maddalena Cecconi(Magnani) is a woman from the lower classes abused by her husband Spartaco(Renzelli),who is obsessed to make her young daughter Maria(Apicella) a star in the cinema industry.She expects a better life for Maria-"she musn't become a loser,she musn't depend on anybody or get beaten like me"-and she sacrifices her marriage and savings paying acting and ballet teachers, dress, hairdresser and bribe for the production assistant con- man Alberto(Chiari) to make her dream come true.
When she spies upon the director's appraisal of Maria's test, Maddalena realizes the cruelty and truth of the entertainment industry. The victims of the cinema,from the elderly actress with pancake make-up existing in a parasitical state to Iris,the former starlet consigned to the editing room,are there for Maddalena to see.Magnani gives a fiery performance in this clash between illusion and reality,with the presence of a diva,an actress who'd become a star, is allowed to steal every scene with the gusto of improvisation but also enhances the roles of the non-professional actors(Maria and husband)The film opens with singing from Donizetti's opera,L'elisir d'amore,using "the charlatan's theme" (critical of the director), setting the tone of the film which is a comedy and satire on the film industry.
Maddalena hears of a motion picture audition to find "the most beautiful bambina in Rome" and decides to enter Maria.As the pushy stage mother,she takes her child to CineCitta,the historic Italian film studio,pitting Maria against hundreds of other little girls .Because Maria has no formal training,her natural talent stands apart from the other packaged and processed girls.The magnificent acting of Magnani and Apicella,as mother and daughter are truly spell-binding and tragicomic.Visconti gives the film a political dimension by showing the superiority of the working class to the middle class,the nobility behind disillusion.Poverty is more acceptable,ameliorated by the love of one's family.At the end Maria is allowed to have uninterrupted sleep.
When she spies upon the director's appraisal of Maria's test, Maddalena realizes the cruelty and truth of the entertainment industry. The victims of the cinema,from the elderly actress with pancake make-up existing in a parasitical state to Iris,the former starlet consigned to the editing room,are there for Maddalena to see.Magnani gives a fiery performance in this clash between illusion and reality,with the presence of a diva,an actress who'd become a star, is allowed to steal every scene with the gusto of improvisation but also enhances the roles of the non-professional actors(Maria and husband)The film opens with singing from Donizetti's opera,L'elisir d'amore,using "the charlatan's theme" (critical of the director), setting the tone of the film which is a comedy and satire on the film industry.
Maddalena hears of a motion picture audition to find "the most beautiful bambina in Rome" and decides to enter Maria.As the pushy stage mother,she takes her child to CineCitta,the historic Italian film studio,pitting Maria against hundreds of other little girls .Because Maria has no formal training,her natural talent stands apart from the other packaged and processed girls.The magnificent acting of Magnani and Apicella,as mother and daughter are truly spell-binding and tragicomic.Visconti gives the film a political dimension by showing the superiority of the working class to the middle class,the nobility behind disillusion.Poverty is more acceptable,ameliorated by the love of one's family.At the end Maria is allowed to have uninterrupted sleep.
Matthew Watters
12.01.2021
10/10
Оценка пользователя
Великолепно
Beautifully mounted, strangely riveting exploration of the trivial
Visconti's early work, like La Terra Trema and this film, applied the director's scrupulous, elegant technique (slowly panning camera moves, crisply detailed cinematogrpahy, high degree of attention to art direction, costume design and visual motifs, e.g., in Bellissima, a use of mirrors to frame views of what is happening in front of and behind the camera) to utterly ordinary subject matter. The result is somehow riveting, all the more impressive as the characters in this film are never truly at risk of destruction in the way many impoverished characters are in Italian neo-realist films, including La Terra Trema. Instead, Bellissima focuses on a working-class family who, sure, live in a cramped apartment, but they also have a few bucks in the bank and a regular livelihood. The story is of a woman who becomes determined to break her rather ordinary six-year-old daughter into the movie business: the film's gentle satire of Cinecitta and the showbiz hangers-on surrounding it gradually build into the would-be stage mother's utter disillusion with the whole dreamy world of cinema. The great accomplishment of this film is how engrossing it manages to be without ever needing to put any of its characters at any huge risk of downfall. In its way, it is even more utterly real than a few more tragic examples of neo-realist cinema, and its technical and visual confidence -- and its sense of assuredness in its gentle satire and lack of sensationalism -- are striking. A great film masquerading as an inconsequential one.....
Stephen C. Bird
12.01.2021
8/10
Оценка пользователя
Хорошо
Magnani's Performance Highlights This Film
Although I am a bonafide fan of neither Luchino Visconti nor neorealism (I prefer surrealism) I found this to be one of Visconti's better films (along with "Rocco e i Suoi Fratelli" and "The Damned"). Frankly I watched this picture for Anna Magnani, who as other Amazon reviewers of this product have noted, is a tour-de-force here in the role of Maddalena, a hyper-driven stage mother. La Magnani is better in her Italian films than she is in her American ones (i.e. "The Rose Tattoo", "Orpheus Descending") as her charisma finds its ultimate channel via her native language. Although I also enjoyed Magnani in Pier Paolo Pasolini's "Mamma Roma", "Bellissima" features the best work of Magnani that I have seen thus far.
My only major criticism of this picture is that certain scenes move quite slowly, perhaps in an effort by Visconti to illuminate the characters and to flesh out the context. But this meandering seems unnecessary / tedious, especially given the straightforward, simple and linear nature of the story. The film's occasional slowness may be a stylistic component of "realism" (or neorealism).
In Closing: "Bellissima" works well as a cautionary tale concerning: (1) the perils and pitfalls of show business, with its inherent hustling, cruelty and dishonesty; (2 the negative consequences of an obsession (in this case, Maddalena's) with the fantasy world of cinema; and (3) the danger inherent in the potential exploitation of child actors. All of this being said, ultimately Maddalena sees through the falsity of it all and cuts her losses, hopefully having learned a lesson in the process.
Stephen C. Bird
Author, "To Be to Is to Was"
My only major criticism of this picture is that certain scenes move quite slowly, perhaps in an effort by Visconti to illuminate the characters and to flesh out the context. But this meandering seems unnecessary / tedious, especially given the straightforward, simple and linear nature of the story. The film's occasional slowness may be a stylistic component of "realism" (or neorealism).
In Closing: "Bellissima" works well as a cautionary tale concerning: (1) the perils and pitfalls of show business, with its inherent hustling, cruelty and dishonesty; (2 the negative consequences of an obsession (in this case, Maddalena's) with the fantasy world of cinema; and (3) the danger inherent in the potential exploitation of child actors. All of this being said, ultimately Maddalena sees through the falsity of it all and cuts her losses, hopefully having learned a lesson in the process.
Stephen C. Bird
Author, "To Be to Is to Was"
vs
12.01.2021
10/10
Оценка пользователя
Великолепно
truth - complex
This is my favorite film of Visconti, just as Mamma Roma (to my taste) is the best Pasolini's movie.
And this is not because of Magnani, even though her performance in both films is superb, as it always is.
The reason I liked Bellissima so much is that it's that exact combination of realism and art which produces the highest possible outcome of human creativity, the truth. In a sense this is what Shakespeare did, because he was a realist even in The Tempest and Midsummer Night's Dream, not even mentioning his Henry IV or Merry Wives of Windsor.
Bellissima is about a short span in a life of a poor family in post-WWII Italy. The mother (Magnani), trying to survive, takes her small (5 years old) daughter to a movie audition hoping to start her career in the film industry, so that her future would be financially secure (and so would be the future of the family).
We see life of ordinary Italians, shown by Visconti with so much knowledge and compassion that it's difficult not to identify with everyone in this movie. We're seeing lots of life's minor details, adding up to a sharp, crisp picture, much bigger than simple sum of those details.
Magnani plays her favorite persona, hysterical - and loving, strong-willed - and vulnerable.
Visconti's cinematography is superb, each scene is so believable because of his ability to add small details everywhere, making it absolutely real. Film is not dated even though it's 50 years old. Some movies become dated after just a few years, but not those in the class of Bellissima, Mamma Roma, People on Sunday.
And this is not because of Magnani, even though her performance in both films is superb, as it always is.
The reason I liked Bellissima so much is that it's that exact combination of realism and art which produces the highest possible outcome of human creativity, the truth. In a sense this is what Shakespeare did, because he was a realist even in The Tempest and Midsummer Night's Dream, not even mentioning his Henry IV or Merry Wives of Windsor.
Bellissima is about a short span in a life of a poor family in post-WWII Italy. The mother (Magnani), trying to survive, takes her small (5 years old) daughter to a movie audition hoping to start her career in the film industry, so that her future would be financially secure (and so would be the future of the family).
We see life of ordinary Italians, shown by Visconti with so much knowledge and compassion that it's difficult not to identify with everyone in this movie. We're seeing lots of life's minor details, adding up to a sharp, crisp picture, much bigger than simple sum of those details.
Magnani plays her favorite persona, hysterical - and loving, strong-willed - and vulnerable.
Visconti's cinematography is superb, each scene is so believable because of his ability to add small details everywhere, making it absolutely real. Film is not dated even though it's 50 years old. Some movies become dated after just a few years, but not those in the class of Bellissima, Mamma Roma, People on Sunday.
Andrew J. DiLiddo Jr.
12.01.2021
6/10
Оценка пользователя
Плохо
One wonderful scene of Magnani watching a John Wayne movie outdoors ...
Interesting staging and cinematography with unusual camera angles, mirrors, crowded set scenes, and Magnani stripping down to her slip more than once. Many extras in every scene and many are waving fans or paper in their faces... ok already, we get the idea that is hot. One wonderful scene of Magnani watching a John Wayne movie outdoors with her husband which is quite common in Italy and in the USA in Little Italy neighborhoods. She marvels at a herd of horses running into a river and her husband quips that at least the horses get to take a bath, which, apparently is a luxury for them given their sparse living quarters. Magnani's character is a nurse that runs around giving injections to people. Very strange characterization and basically, Magnani runs around like a chicken with her head cut off on high heels everywhere. For 1951, an interesting critique of the movie industry in Italy when in America, Hollywood was the cat's meow. Every scene is a stereotype of Italians, loud, rude, shouting, emoting, alternating with someone saying calm down and a return to a politer demeanor. This got tiresome after the first 36 pendulum swings from one extreme to the other. I am positive that Italians can be found that moderate between these two extremes somewhere. In this characterization, the stereotype was, in effect, cartoonish. Especially the scene of Magnani's husband trying to remove their daughter from their apartment. If someone wants to know what is meant by the term "drama queen", all they need to do is watch a few minutes of this film.
Themistocles
12.01.2021
10/10
Оценка пользователя
Великолепно
Great film but why not a DVD in USA format with English subtitles?
I love this picture, a tour de force for the great Nannarella, La Magnani. So why is this film not
available on DVD in USA Format with English subtitles for the American audiences? What gives?
Why cannot the U.S. admire the artistry of Magnani? Something is not right.
available on DVD in USA Format with English subtitles for the American audiences? What gives?
Why cannot the U.S. admire the artistry of Magnani? Something is not right.
J. Faulk
12.01.2021
6/10
Оценка пользователя
Плохо
Nerve Wracking, Italian Style
In this 1951 dialogue barrage, Anna Magnani (1908-1973) pushes all out to get her small daughter into films. She tries her husband's patience, and he slaps her a few. She free-lances as an injection "nurse" to finance her dream for her little girl (whom she's constantly squeezing or tugging at). Walter Chiari (1924-1991), a fringe participant in the movie business, "helps" Anna, milks her for some cash, and moreover has ideas of seduction.
This overly long, 114-min film required four writers, and Anna's (and others') mouth assaults us with Gatling-gun rapidity. Of course the whole picture is post-dubbed, and there are the familiar camera setups to obscure off-sync. The streaming subtitles are yellow, edged in green. Much time is consumed not with dramatic progression, but with showing mom & daughter at coaching sessions with an old actress, the casting audition, ballet class, flattering-costume prep, the screen test. THEN, Anna and daughter manage to watch the VIPs as they comment on the child's worth!
Anna, at 42, is corseted, ankle-strapped, dark hair awry, whitened face simplified except for the permanent furrow between her brows. (Still, she looks a helluva lot better and juicier than she did in The Rose Tattoo [1955] and The Fugitive Kind [1959].) Her expressions, her gestures, her surging emotions appear by now to be right out of Basic Italian. But 60 years ago, in the postwar era, her countrymen, her director Visconti (well, kinda), loved this actress and her personal brand of creativity.
The film's surprising, poignant conclusion shows a chastened Anna, a loving husband, and a sleeping child.
ALERT: This standard-format DVD was rejected by my Samsung player (the first Blu-Ray machine, I believe, offered to the public), and by my 17-in. Sony Vaio "Blu-Ray-capable" computer (2006; its BR technology never worked). The disk did play in my 15-in. Sony computer with conventional optical drive.
This overly long, 114-min film required four writers, and Anna's (and others') mouth assaults us with Gatling-gun rapidity. Of course the whole picture is post-dubbed, and there are the familiar camera setups to obscure off-sync. The streaming subtitles are yellow, edged in green. Much time is consumed not with dramatic progression, but with showing mom & daughter at coaching sessions with an old actress, the casting audition, ballet class, flattering-costume prep, the screen test. THEN, Anna and daughter manage to watch the VIPs as they comment on the child's worth!
Anna, at 42, is corseted, ankle-strapped, dark hair awry, whitened face simplified except for the permanent furrow between her brows. (Still, she looks a helluva lot better and juicier than she did in The Rose Tattoo [1955] and The Fugitive Kind [1959].) Her expressions, her gestures, her surging emotions appear by now to be right out of Basic Italian. But 60 years ago, in the postwar era, her countrymen, her director Visconti (well, kinda), loved this actress and her personal brand of creativity.
The film's surprising, poignant conclusion shows a chastened Anna, a loving husband, and a sleeping child.
ALERT: This standard-format DVD was rejected by my Samsung player (the first Blu-Ray machine, I believe, offered to the public), and by my 17-in. Sony Vaio "Blu-Ray-capable" computer (2006; its BR technology never worked). The disk did play in my 15-in. Sony computer with conventional optical drive.
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