REVEL
Les Z’allucinés invite you to an evening at Ciné Get!
On the programme:
– The short film :
Génération Guacamole by Pierre-Antoine Guyomard
Faced with his commitment to the planet, a man is confronted with his greatest contradiction.
– The film :
Bellissima by Luchino Visconti
1951 film with Anna Magnani, Walter Chiari, Tina Apicella
One of Visconti’s great films, and one of the most emblematic of the great Anna Maria Magnani, LUCHIANO VISCONTI (1906-1976)
Born into an aristocratic family in Milan, Visconti was immersed in literature and music from an early age. In addition to his work as a film director, he also directed theatre and opera. He started out as Renoir’s assistant on “Toni” and “Une partie de campagne” and spent much of his life in Paris. His first films were associated with neo-realism. “Bellissima” is one of them. Yet Visconti was a great lyricist. The sensuality and romanticism of his cinema are remarkable. The care taken with the sets in his films is unequalled: you only have to see “Le Guépard” or “Death in Venice” to be convinced. Visconti rarely used close-ups, but he was adept at using medium and especially wide shots, in which the actors were shown to their best advantage in a defined space (often an interior). The end of an era is a recurring theme for Visconti, as is the collapse of certain values and decadence. His affair with Helmut Berger is no secret. He gave her many important roles.
In Bellissima Visconti filmed Cinecittà, the Mecca of Italian cinema, built under Fascism and inaugurated in 1937. A large part of the film takes place inside the complex, showing the studios, behind the scenes, the famous entrance to this city of cinema, the little hands, the editors, the dressing rooms, the sets, etc.
ANNA MARIA MAGNANI nicknamed Nannarella (born on 7 March 1908 and died on 26 September 1973 at the age of 65) Her father Pietro Del Duce, whom she never met, was from Calabria. Abandoned by her mother Marina Magnani from Romagna, she was brought up in poverty by her maternal grandmother in a shanty town in Rome, where she studied at the Academy of Dramatic Art and made her stage debut before appearing in films in the 1930s.
An icon of Italian cinema, she symbolised the golden age of neo-realism. She worked with such great directors as Victtorio de Sica, Pier Paolo Pasolini, Jean Renoir, Frédérico Fellini and Luchino Visconti.
Her role in Roberto Rossellini’s Rome, Open City (1945) made her an icon of Italian realism, portraying passionate, authentic women. In 1955, she became the first Italian woman to win the Oscar for Best Actress for Tennessee Williams’ The Tattooed Rose.
