Bellissima

When thinking of famous, influential Italian filmmakers the usual suspects come to mind: Federico Fellini; Roberto Rossellini and Michelangelo Antonioni. All have made their mark on world cinema, leaving behind an array of films still looked upon today as masterpieces. Luchino Visconti however, is a name seldom used outside of Italy when it comes to celebrating the nation’s cinematic achievements. Visconti helped turn conventional methods of filmmaking on its head, opting instead for a more naturalistic approach on both sides of the camera. In focussing on the lives of ordinary people in their natural environment (using non-actors and shooting on location as a result), Visconti produced elements of cinema rarely seen before. His first outing in 1943 gave us ‘Obsession’, in which a tragic story unfolds in the Italian countryside. It was these key elements of tragedy set amongst natural surroundings that placed Italian cinema on the map, resulting in some of the most memorable films ever produced: ‘Rome Open City’ – Roberto Rossellini (1945) and ‘Bicycle Thieves’, as well as influence the next generation of filmmakers worldwide.

‘Bellissima’ (1951) is Visconti’s fifth film as director and was written by Cesare Zavattini whose other writing credits include ‘The Bicycle Thieves.’ It tells the story of a larger than life mother, played by Anna Magnani, who drags her young daughter (Tina Apicella) along to a contest to find the prettiest girl in Rome. As an honest satire on the film industry, ‘Bellissima’ conveys all the elements of a neorealist film as well as highlighting the cruel and harsh realities which lie behind the silver screen. Magnani’s powerful, and somewhat over the top performance is at the centre of the film as she sees her dreams of a better life for her and her family deteriorate after discovering just how the movie industry really operates.

The majority of filming takes place at Italy’s most famous film studio, Cinecitta (Cinema City), whilst Italian film director Alessandro Blasetti appears in the film as himself along with hundreds of extras. Even though these do fall into classic neorealist attributes, using actual locations and non-professional actors, in a way this is also a clever twist by Visconti as he is adding a touch of glamour to the proceedings. As neorealist cinema is generally centred on poverty and desperation, watching a successful filmmaker on Italy’s most famous film set is not really a depressing subject matter it is rather an appealing one if any. It is this mixture of decay and glamour on screen that make ‘Bellissima’ such an intriguing film as Visconti highlights two very different worlds both unable to escape from their demands for success and the pressure this inevitably brings.

‘Bellissima’s’ first major location is the working-class settings of Rome. Row upon row of housing-blocks vacated by people living in doomed squalor is clearly presented on screen. With its decaying high-rise buildings, children play in between the hanging washing completely cut off from the rest of the city, knowing full well that there only immediate goals when grown up will be to make sure there is enough food on the table and that the bills are paid. This revealing set-up of struggle and despair is a huge contrast to the opening scenes in which a radio station interrupts its live opera performance to announce the prettiest girl in Rome contest. Here, in Visconti’s second main location, the impression of wealth and superiority is evident in these studios as the classical music being displayed is performed by professional musicians and singers all dressed to a high standard. This form of media entertainment whether it is radio, film or television suggests that the people running the show from their warm, comfy studios are in fact the ruling classes. They are people who practically dictate as well as entertain their working-class audience. Evidence of this comes in the immediate aftermath of the radio announcement. Here Visconti fades in onto a mass rush of people gathering outside the gates of the film studios. Like herds of sheep they are instructed and formed into queues and told to wait patiently as their names and numbers are called. As they are all eager to impress director Alessandro Blasetti with their daughters, as if these people have finally received some form of liberation from their mundane lives. They now have a chance to succeed and make a better life for themselves, and all thanks to the seemingly wonderful people at Cinecitta. Even at the end of his radio announcement the presenter states: ‘It could be yours and her lucky day’, declaring this is a once in a lifetime opportunity almost like a lottery. You kind of get the impression that such was the public response; if they do so happen to miss this opportunity then regret will no doubt remain alongside them as well as their continued struggle. It is tantamount to the radio station stating here you go; here are a few breadcrumbs from our table. Here is a chance for you to experience our glamour and superiority. This may seem a bit farfetched but it is clear that Visconti sets up the notion that the film industry is a wonderful place to be, offering fame and fortune to the right people and yet, as we find out, the grass is not always greener on the other side.

By today’s standards this is hardly an original statement, as most people have a rough idea of how the film industry really operates (in particular Hollywood). 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.

‘Bellissima’ is a very revealing film in that it showcases two very different environments inhabited by people struggling to survive at both ends of the scale. On one hand we have an image of working-class Rome looking up to the bright lights offered by its film industry, and on the other, an image of ruthless film producers and writers all frantically running around, and who will do or say practically anything in order to meet deadlines. There is however a strong connection between the two that holds the film together. Visconti promotes the fact that neither can really survive without the other. Once in a while the public will no doubt need the cinema for their entertainment and escapism, whilst the industry will certainly need to appeal to its potential audience in order to sell it tickets.

Despite the bitterness towards the industry seen from an ordinary woman such as Maddalena, Visconti still suggests that both will continue to co-exist. This is demonstrated in the film’s final scenes when Maddalena consoles in her husband after her emotional rejection of the lucrative contract. With tears streaming down her face she willingly reveals her continued love for movie star Burt Lancaster; stating that he is still as wonderful as ever. It is this fickle attitude from society that Visconti subtly draws attention to. Even though we know the cruel manner of which the industry operates in, we still feel the need to flock to the cinemas and see our beloved stars. You can imagine that even with a character like Maddalena, and despite her stubbornness, she will no doubt visit her local cinema once things in her troubled life have died down. Like all of us, we still need to be entertained and to have fantasies which can set us free from our ordinary lives.

With this in mind ‘Bellissima’ cannot be classed as just another neorealist film. Although huge naturalistic emphasise is placed on portraying both the working classes and the inner workings of the Italian film industry, it is also a film which celebrates and uncovers the madness which inevitably surrounds them. Visconti first wants us to marvel in the power and glamour the industry has to offer but at a price. A character like Maddalena is effectively a working-class spanner thrown into the industry’s works; there to cause mayhem and disrupt its seemingly faultless modes of production. As a result, she gains a moral victory by declaring her daughter is not for sale. However, the industry and its people seem to redeem themselves following her continued devotion for Burt Lancaster, consequently elevating them to the formidable forces we all know they are: something that the public wants, and more importantly, will always need.

Watch

Country: Italy
udget: £
Length: 108mins

Rome Open City (Roma, città aperta) 1945, Roberto Rossellini, Excelsa Film
Bicycle Thieves (Ladri di biciclette), 1948, Vittorio De Sica, Produzioni De Sica

Pub/2008

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