Bellissima, Luchino Visconti (1951)

Italy, post-war Rome, is the heyday of Italian neorrealist cinema. Producers and directors are searching for real people to star in their films. Aspiring actors-men, women, children, adults, the elderly-all hope for immediate fame and fortune by making a film with Rossellini or De Sica. Aerial views of Cinecitta show groups of mothers rushing their children to screen tests. This is how we first see a mother, Maddalena Cecconi (Anna Magnani), hopeful about the success of her seven-year-old daughter, Maria (Tina Apicella), who is plain-looking, lacks talent, and has a clear disinterest in film. Alessandro Blasetti (himself) has called for casting calls to select the most beautiful girl to star in his next film. Pathetically, the hopefuls parade before Blasetti, displaying their skills and shortcomings, the only interest of the production team being how they look on screen. Among the surrounding characters is Alberto Annovazzi (Walter Chiari), a self-important charlatan who promises success in exchange for favors and financial compensation. Maddalena wants access to the family savings, a move her husband Spartaco Cecconi (Gastone Renzelli) unsuccessfully opposes. Maddalena doesn't hesitate to hand over all the money to Alberto in order to secure the lead role for Maria, only to be swindled in every way, as was to be expected. At this point, the story takes an unexpected turn, culminating in an epic, Visconti-esque finale with Anna Magnani at the height of her dramatic powers.