47 Bellissima

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Michael
Joined: Wed Nov 03, 2004 12:09 pm

47 Bellissima

#1 Post by Michael » Fri Jul 29, 2005 11:04 am

Bellissima

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When casting children's roles, director Luchino Visconti (The Leopard; Death in Venice) is said to have been besieged by clamouring mothers, each trying to attract his attention to their child with cries of "Bellissima!". In his film of the same name, Visconti turned his experiences into art, in the form of a satire on the motivations and machinations at work in the film industry, with the famous Cinecittà studios as a backdrop.

Maddalena (Anna Magnani) is a screenstruck mother convinced of her daughter Maria's (Tina Apicella) star potential. Dreaming of a better life for her family – as a means of escape from the struggles of everyday existence in working-class Rome – she invests everything, including her last penny, into the dream that her daughter will be discovered at an open casting. However, on overhearing the film crew's candid assessment of her daughter's audition (in what Variety described in 1952 as "one of the cruellest scenes ever filmed") Maddalena is forced to reconsider her views on the film industry and its world of illusions.

Written by Cesare Zavattini (Shoeshine; Bicycle Thieves), Bellissima stars Italy's most famous actress, Oscar-winning Magnani (Rome, Open City; The Rose Tattoo; Mamma Roma), in a bravura performance that moved Hollywood legend Bette Davis to make the following tribute: "This is Magnani, tempestuous. This is Magnani, brilliant and uninhibited. This is Magnani full of volcanic, earthy power. This is Magnani, tender, poignant, and unbelievably stirring". The Masters of Cinema Series is proud to present – for the first time on home video in the UK – Visconti’s exposé of false dreams and shallow fantasies behind the screen, a subtle critique of the industry in which he worked.

SPECIAL FEATURES

• New high-definition progressive transfer, in the original aspect ratio
• New and improved optional English subtitles
• A PROPOSITO DI BELLISSIMA [31:42]
• Video interview with Bellissima co-screenwriter and assistant director Francesco Rosi [10:31]
• Original theatrical trailer [3:51]
• 32-page illustrated booklet containing writing by Geoffrey Nowell-Smith and much more...

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kieslowski_67
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#2 Post by kieslowski_67 » Fri Jul 29, 2005 12:54 pm

Michael wrote:Being a Visconti fan, I'm damn curious about one of his lesser known or discussed films Bellissima which features the great Anna Magnani.

The VHS or DVD seems impossible to come by (is there one available?).

Any comments about Bellissima?
It has been released on DVD overseas. I guess that the picture quality is suspicious. And Japan released a Visconti 3 DVD box which includes "Bellissima".
I have not ordered the box set but world is that "Ossessione" transfer is superior than those from either BFI or Image R1 release.

I watched his "Vaghe stelle dell'Orsa..." recently on a Japanese DVD. It's a beautiful transfer and I think that you will love the film, Michael.

"SIAMO DONNE" is also fine on the Japanese DVD. Visconti did the Magnani segment and it's delicious.

And I guess that you do know that both 'conversation piece' and 'the innocent' were released in R2. Not great transfer by any means, good collection by Visconti fans anyway.

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backstreetsbackalright
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#3 Post by backstreetsbackalright » Fri Jul 29, 2005 2:23 pm

I was able to rent a VHS copy in Seattle. Picture quality wasn't terrific, but it was certainly watchable.

The movie's great. One of my favorite (if not in fact my very favorite) Magnani roles. Basically Magnani is convinced that her little girl has the makings of a screen star, and goes to absurd lengths to make this happen. Not too far removed from Masina's Cabiria, Magnani plays an ultra-driven mother who idealistically assumes that her daughter's adorable looks and (less than remarkable) talent will leap out at producers, but of course that's not how the movies work. The film has a nice episodic quality with a number of sequences that really stand out in my memory (the daughter's haircut, the casting call, etc.). Now that White Nights is readily available, this is the obscure Visconti title to beat. Fans should be sure to track this one down.

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Michael
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#4 Post by Michael » Fri Jul 29, 2005 2:25 pm

The Japanese DVDs sound great. Here comes the old tired question: English subtitles?

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kieslowski_67
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#5 Post by kieslowski_67 » Sun Jul 31, 2005 4:26 pm

backstreetsbackalright wrote:I was able to rent a VHS copy in Seattle. Picture quality wasn't terrific, but it was certainly watchable.

Now that White Nights is readily available, this is the obscure Visconti title to beat. Fans should be sure to track this one down.
Nope, 'the stranger' is still the one to beat. Not available on DVD or VHS even if it stars Mastroianni and the beautiful Anna Karina.
Michael wrote:The Japanese DVDs sound great. Here comes the old tired question: English subtitles?
It only has Japanese subtitles on it. Neither is "SIAMO DONNE". I will check to see whether 'Sandra' has English subtitles next week and come back to you.

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Awesome Welles
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#6 Post by Awesome Welles » Fri May 11, 2007 10:45 am

It has been released in Italy in a lovely looking 2 disc set with English subs, I'm just waiting to see what the quality is like...?

It's available here and here. I got mine on eBay.it though, I'm sure there are still some available.

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Michael
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#7 Post by Michael » Fri May 11, 2007 10:58 am

a lovely looking 2 disc set
I have the Italian DVD - its one disc, not two. More details here.

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Awesome Welles
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#8 Post by Awesome Welles » Fri May 11, 2007 11:44 am

You're absolutely right, my mistake I just had a look, I just remember seeing that the extras were good and thought it was split over two discs.

peerpee
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#9 Post by peerpee » Fri May 11, 2007 9:31 pm

Coming from MoC in late Summer.

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Awesome Welles
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#10 Post by Awesome Welles » Sun May 20, 2007 9:02 am

Ok so I've seen the film now (it was great) and now it's on ebay. I'll be purchasing the MoC edition. I was so sure that Senso was going to be the Visconti mentioned.

Any ideas for features Nick? Francesco Rosi gives a lovely interview on the Italian disc, I always enjoy his interviews. It'd be nice to see something like this on the MoC disc, any chance this could be licenced? I am not aware of any other relevant material.

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Scharphedin2
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#11 Post by Scharphedin2 » Sun May 20, 2007 12:35 pm

davidhare wrote:Nick have you made any enquiries about the supposedly restored Senso?
This is a lovely film, and it is great that Masters of Cinema will make it available to an even wider audience.

However, since I own the Italian disc, in my heart I had of course hoped against hope that Senso (or even Sandra) would be the upcoming release from Masters of Cinema... So, reiterating Davidhare's question, do you have any thoughts or info on Senso (or Sandra), Peerpee?

BrightEyes23
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#12 Post by BrightEyes23 » Sun May 20, 2007 5:50 pm

speaking of Rosi...any chance MoC would release the Mattei Affair?

peerpee
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#13 Post by peerpee » Sun May 20, 2007 7:35 pm

We've been chasing it for 3 years, its rights are badly tied up.

mikeohhh
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#14 Post by mikeohhh » Sun May 20, 2007 11:44 pm

peerpee wrote:We've been chasing it for 3 years, its rights are badly tied up.
Senso or The Mattei Affair?

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Awesome Welles
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#15 Post by Awesome Welles » Mon May 21, 2007 5:18 am

I emailed Nick quite a while ago about The Mattei Affair and he says that it's with Paramount and it looks unlikely, although he could be referring to Senso...

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pro-bassoonist
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#16 Post by pro-bassoonist » Thu May 31, 2007 3:13 pm

FSimeoni wrote:I emailed Nick quite a while ago about The Mattei Affair and he says that it's with Paramount and it looks unlikely, although he could be referring to Senso...
Senso is property of Studio Canal and Optimum are releasing the new restored print on July 9th.

Pro-B

peerpee
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#17 Post by peerpee » Thu May 31, 2007 4:42 pm

FSimeoni wrote:Any ideas for features Nick? Francesco Rosi gives a lovely interview on the Italian disc, I always enjoy his interviews. It'd be nice to see something like this on the MoC disc, any chance this could be licenced? I am not aware of any other relevant material.
We've licenced over 40 minutes of extras from the Italian edition of BELLISSIMA, which we're subtitling now (including the Rosi interview).

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TheGodfather
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#18 Post by TheGodfather » Mon Jun 04, 2007 3:39 pm

Looks really beautiful. I`m quite curious about this one so I`ll be getting it of course.

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manicsounds
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#19 Post by manicsounds » Tue Jun 05, 2007 3:43 am

This movie was playing on the TV set in Almodovar's Volver, wasn't it?
I haven't seen Bellissima, is there any connection in theme for both films?

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Awesome Welles
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#20 Post by Awesome Welles » Tue Jun 05, 2007 5:22 am

davidhare wrote:This is so MUCH better a movei than la Terra Trema! (whichI now view as a hiccup in his career.)
Really? As much as I love Bellissima, I think La Terra Trema is one of his greatest films from this early period and is incredibly powerful.

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ellipsis7
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#21 Post by ellipsis7 » Tue Jun 05, 2007 8:30 am

Nowell-Smith cites Flaherty & Eisenstein as Visconti's influences on LA TERRA TREMA, turning away from the naturalistic influence of his mentor Renoir which is apparent in OSSESSIONE... As such LA TERRA TREMA does exhibit something of the early elements of Visconti's operatic style, a development continued more fulsomely with BELLISSIMA...

Perhaps the best comparison for BELLISSIMA (1951) is with similar themed and near contemporaneous films, Fellini's LO SCEICCO BIANCO (1952) and especially Antonioni's LA SIGNORA SENZA CAMELIE (1953), and their varying treatments of common subject matter...

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Michael
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#22 Post by Michael » Tue Jun 05, 2007 8:44 am

This movie was playing on the TV set in Almodovar's Volver, wasn't it?
I haven't seen Bellissima, is there any connection in theme for both films?
Yes, that was the movie playing in Volver. I failed to see any connection between both films except that Cruz dressed sort of like Magnani but Cruz isn't Magnani. There is NO ONE like Magnani period.

I like Volver but Bellissima is millions times better and more powerful. Your life isn't complete without having seen Magnani's breathtakingly operatic performance at least once. Don't get me wrong, I like Volver (I still think Bad Education is Almodovar's masterpiece) but as a film, Bellissima overshadows Volver in every way.

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ellipsis7
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#23 Post by ellipsis7 » Tue Jun 05, 2007 8:48 am

Lovely Magnani profile...
Inside the volcano

Anna Magnani threw pasta over Roberto Rossellini, spread rumours about Burt Lancaster and insulted Anthony Quinn. But her violent temper helped make her a screen legend.

Some people in show business were afraid of Anna Magnani. The force that made her not just a great actress, but a sacred monster - her impulsive extremism - was also a cause of upheaval, and those "scenes" calculated to disrupt the orderly recording of designed scenes on to celluloid. To hire Magnani, to be with her in any enterprise, meant, sooner or later, being on the receiving end of her temper, and plates of hot pasta. Just think of the damage she might have done if she'd been unquestionably beautiful, along with everything else. Instead, it was the battle of her existence as an actress and a woman to make any man ignore her roughness, her ugliness even, and see her raw desire.
From the start, she was a rank outsider, the illegitimate child of an Italian mother and an Egyptian father, born in Rome in 1907 and raised in the direst poverty. As a teenager, she sang songs in tawdry nightclubs, courting her Arabic flavour. She spent most of the 1930s in music halls, working in small roles on the stage and trying to break into movies. She was violently attractive, but already known for her dangerous volatility. In 1936, she married the movie director Goffredo Alessandrini (born in Cairo to Italian parents), but then suffered the humiliation of having him declare her unsuited to the movies.

She had half a break with a good supporting role in Teresa Venerdi (1941), directed by the young Vittorio De Sica. But then she got into an affair with the actor Massimo Serato (10 years her junior), and was left with a child. It was only then, during the war, that her fortunes changed, when Roberto Rossellini cast her as the woman shot in the street by the Germans in Rome, Open City. She invested the small role with extraordinary urgency - and it was the film that thrust immediacy forward as a new brand of realism.

Rossellini fell in love with the person and the actress. He cast her in both parts of his film L'Amore (1948): she played the woman on the telephone in The Human Voice (by Cocteau) driven to desperation by a lover who is abandoning her; and she was the simple peasant woman, seduced by a scoundrel (played by Federico Fellini), who thinks she has been impregnated by an angel.

In those heady postwar years, she made several other films as a star. But she looked her 40 years, and she was apparently incapable of mastering English. This was of awkward relevance to Rossellini who, despite the fact that America treasured his realistic films, was eager to make box-office pictures for the English- speaking audience. And so he made contact with another great actress, Ingrid Bergman, who was weary of Hollywood fabrications and desperate to make something "truthful".

The set-up between Magnani and Rossellini was seldom calm. He was married to another woman; he had children. She had her child, an invalid, in great need of care and attention. But the day came when rumours were feeding Magnani's foreboding instincts. For a while she goaded Rossellini - was there something he needed to tell her? Only when he denied it repeatedly did Magnani empty the food over his head. The relationship was over, and Magnani would be replaced by the younger and more classically beautiful Bergman.

Many actresses might have yielded to fate and time. But Magnani became fiercer under challenge, and it was as if the Italian public fell more in love with her in the great scandal of the Rossellini-Bergman affair. When Rossellini and Bergman went off together to the volcanic island of Stromboli to make the first in a series of films about marriage, Magnani responded with her own eruptive picture, Volcano.

Then, in 1951, she found one of her greatest roles for director Luchino Visconti, playing a mother striving to get her plain daughter launched in movies. In that picture - Bellissima (1951) - Magnani abandoned all restraints, as a woman we would gladly strangle, but whose life force leaves us shocked. Of course, it's the mother who needs to act, and it was Visconti's grace to uncover a vulnerability in the excessiveness and to make the picture an international success. All of a sudden, roles were reversed: Bergman had opted for Italy - and increasing obscurity; but maybe Anna Magnani was ready for stardom.

The French director Jean Renoir cast her as the central figure, another actress, loved by many men but most in love with performing, in The Golden Coach (1952). This is her subtlest work ever, full of irony and tenderness, but as Renoir explained, it was drawn out of chaos: "Another problem with Magnani was to persuade her to spend the night in bed and not in night-clubs. She turned up worn out, with bags under her eyes and incapable of remembering any of her lines. She would start by saying she couldn't go on, that she looked foul, like an old beggar-woman; a string of excuses while she sat shivering in a huge mink cape chain-smoking. Within five minutes the bags vanished, her voice had cleared and she looked 10 years younger."

She was close to Tennessee Williams, who thought her the most unconventional woman he had ever known, and wrote The Rose Tattoo for her. She flirted with the part on stage, begged off because of her inadequate English and then agreed to the movie, co-starring with Burt Lancaster. They clashed like gongs. Lancaster claimed Magnani was directing him, upstaging him, and intimidating him by forgetting to bathe. Her rueful eyes widened, she assured the world she adored Burt. She took him off one night and did all that a woman could to reassure his ego. Then she told anyone ready to listen that he wasn't much to speak of in that department.

She won the Oscar for The Rose Tattoo - and in hindsight it seems more an inevitable tribute than a just reward for acting. Williams had done the part for her in much the same spirit: let Anna be Magnani - let the Arab rule.

Success made her no easier. There was another American movie, Wild Is the Wind, shot in Nevada, where the unit motel rooms had walls freely decorated in pasta sauce. She insulted one co-star, Anthony Quinn, and ravished the other, Anthony Franciosa. Director George Cukor preferred never to talk about the experience afterwards.

One grand venture was left: The Fugitive Kind, derived from another Tennessee Williams play, Orpheus Descending. It cast Magnani (then over 50) with Marlon Brando (17 years younger). Brando later wrote that Magnani attacked him physically. Building on a wild kiss, she put a bite on the actor. She was drawing him towards bed and he - poor lad - escaped only by pinching her nose until she freed him. One monster wrestling another.

She went back to Italy and made Mamma Roma (as a prostitute looking to go respectable) for the young Pasolini. She died in 1973, with Rossellini a faithful bedside visitor. There were outpourings of grief from the ordinary people. They had always understood her courage and her terror. She was from the streets and below, and if the world was poorer without her, the performing arts were that bit safer.

David Thomson, The Guardian, 2002

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Gropius
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#24 Post by Gropius » Tue Jun 05, 2007 6:35 pm

ellipsis7 wrote:Perhaps the best comparison for BELLISSIMA (1951) is with similar themed and near contemporaneous films ... and especially Antonioni's LA SIGNORA SENZA CAMELIE (1953), and their varying treatments of common subject matter.
That would be another very good choice for MoC, or indeed any early Antonioni, which currently has zero representation on UK DVD.

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souvenir
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#25 Post by souvenir » Thu Aug 16, 2007 1:06 pm


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