Want to know the best Anna Magnani movies? How about the worst Anna Magnani movies? Curious about Anna Magnani box office grosses or which Anna Magnani movie picked up the most Oscar® nominations? Need to know which Anna Magnani movie got the best reviews from critics and audiences? Well, you have come to the right place….because we have all of that information.
Anna Magnani (1908-1973) was an Oscar® winning Italian actress. Magnani was widely regarded as one of the greatest actresses of Italian and World cinema. She won a Best Actress Oscar for her role in 1955’s The Rose Tattoo. Her IMDb page shows 52 acting from 1928 to 1972. This page will rank Anna Magnani movies from Best to Worst in six different sortable columns of information. To do well in our overall rankings a movie has to do well at the box office, get good reviews by critics, be liked by audiences, and get some award recognition. Sadly many of her movies did not play in North American theaters. To include her many missing movies, we created an additional separate ranking by reviews.
Anna Magnani Movies Ranked In Chronological Order With Ultimate Movie Rankings Score (1 to 5 UMR Tickets) *Best combo of box office, reviews and awards.
Anna Magnani Movies Can Be Ranked 6 Ways In This Table
The really cool thing about this table is that it is “user-sortable”. Rank the movies any way you want.
- Sort Anna Magnani movies by her co-stars
- Sort Anna Magnani movies by adjusted domestic box office grosses using current movie ticket cost (in millions)
- Sort Anna Magnani movies by yearly domestic box office rank
- Sort Anna Magnani movies by how they were received by critics and audiences. 60% rating or higher should indicate a good movie.
- Sort by how many Oscar® nominations and how many Oscar® wins each Anna Magnani movie received.
- Sort Anna Magnani movies by Ultimate Movie Rankings (UMR) Score. UMR puts box office, reviews and awards into a mathematical equation and gives each movie a score.
Check out Anna Magnani’s career compared to current and classic actors. Most 100 Million Dollar Movies of All-Time.
More Anna Magnani movies…this time ranked by reviews
| Rank | Movie Title | Year | Review % |
| 1st | Mamma Roma | 1962 | 71.00% |
| 2nd | La vita è bella | 1943 | 70.50% |
| 3rd | Scarred | 1948 | 67.50% |
| 4th | Made in Italy | 1965 | 66.50% |
| 5th | Woman Trouble | 1948 | 65.00% |
| 6th | Peddlin’ in Society | 1946 | 64.50% |
| 7th | Thirty Seconds of Love | 1936 | 64.50% |
| 8th | The Bandit | 1946 | 63.50% |
| 9th | Down with Misery | 1945 | 63.00% |
| 10th | The Peddler and the Lady | 1943 | 63.00% |
| 11th | Doctor, Beware | 1941 | 62.50% |
| 12th | The Ways of Love | 1950 | 61.00% |
| 13th | The Last Wagon | 1943 | 60.00% |
| 14th | Full Speed | 1934 | 60.00% |
| 15th | Before Him All Rome Trembled | 1946 | 59.00% |
| 16th | La fuggitiva | 1941 | 58.50% |
| 17th | Betrayal | 1938 | 58.00% |
| 18th | The Blind Woman of Sorrento | 1934 | 57.50% |
| 19th | Unknown Men of San Marino | 1948 | 56.50% |
| 20th | Cavalleria | 1936 | 55.75% |
| 21st | Finalmente soli | 1942 | 55.50% |
| 22nd | I pinguini ci guardano (voice) | 1956 | 54.30% |
| 23rd | Josefa’s Loot | 1963 | 52.50% |
| 24th | Quartetto pazzo | 1945 | 52.50% |
| 25th | Revenge | 1946 | 51.50% |
| 26th | L’avventura di Annabella | 1943 | 50.50% |
| 27th | Il fiore sotto gli occhi | 1944 | 48.75% |
| 28th | La fortuna viene dal cielo | 1942 | 46.50% |
| 29th | Una lampada alla finestra | 1940 | 42.50% |
I have seen 3 Anna Magnani movies. None of them are favourites:
The Rose Tattoo
The Secret of Santa Vittoria
The Fugitive Kind
Hey Flora. Thanks for the feedback on Anna M. I have only seen The Rose Tattoo. Heck I have only heard of 3 or 4 of these movies. Good stuff.
Have. Not. Seen. Any.
Hey Stefan. Our tally counts are not too impressive. My 1 does slightly top your 0. Good stuff.
Anyway it seems that Anna herself was so taken in by the hype that she received that she developed grandiose notions of her status on the stardom ladder getting into a row with the producers about Marlon being billed over her in Fugitive Kind.
I have mentioned before that she reportedly threw a tantrum on set in front of cast and crew by throwing herself on the floor; wailing like a baby; and shouting out “Not even in my native Italy will he let me have top billing!” Reportedly the display shook even Brando – but he didn’t back down!
She was of course on a beaten docket anyway because if the producers DID pay Brando anything like that $1 million they were going to ensure that the public knew that HE was the film’s star [and indeed probably only in a Cogerson co-star links column was he likely to appear 2nd anywhere!].
There is a little Dan-like link in that Anna/Loren/La Lollo all made films with Burt Lancaster: respectively in Rose Tattoo/Cassandra Crossing/Trapeze. However I think that in the end whilst she was a better actress than the other two her success was limited by the fact she wasn’t seen as a sex symbol; and indeed for my money she often cut an overpowering fierce and grim figure.
Nonetheless in the history of movies she has earned her own firm niche and therefore deserves this new page. I like the little miniature of her and Marlon above; and despite their apparent quarrels I think it did him good to have as his female lead someone who could match him as a screen “powerhouse”.
Very few among his past more genteel female co-stars were able to do that and it is difficult to think there were others among the ‘sophisticated’ set would have been be able to do so such as – well take for instance – Myrna Loy; though that scene-stealing rascally little Asta would I think would have been able to give Marlon a run for his money anytime!
Historically Fugitive Kind is trivially significant for the fact that the prestigious Joanne Woodward achieved what her husband Paul said that the had always wanted to do but had never been able to: act with Marlon Brando on screen [it nearly happened with Butch and Sundance but Brando backed out allegedly because the death of Martin Luther King made him too distraught to work for a time]. There are no reports that I have seen though about how Anna and Joanne hit it off.
As Bruce’s statistical and verbal profile above clearly shows Anna was really a European Continental artist [albeit a brilliant one] who hit it big with the blockbuster The Rose Tattoo at a time when Hollywood was into encouraging European actresses to sign up in Tinseltown -Loren and La Lollo being other examples so that they became as Bruce describes it “World” artists.
The success of Rose Tattoo and the courting of the big Continental stars by Hollywood inflated one’s sense of Anna’s star prestige and seemed to dupe even herself. As Bruce’s stats show apart from Rose Tattoo her only other commercial Hollywood successes were [possibly] Wild is the Wind and [more reliably] The Fugitive Kind which whilst not one of Brando’s big hits of the time is reported to have turned a small profit.
Indeed one historian has described his performance in it as his greatest ever at least in the pre-Godpop/Last Tango days [where was Joel when THOSE kind of claims were being made!]
Also it is said that with that movie Brando became the first thespian to be paid 1 million dollars for a film; though such claims have also been made for Liz Taylor in Cleo; Golden Holden in Bridge on River Kwai; and Archibald Alec Leach for Operation Petticoat – though Archie’s riches from that were derived as much form his involvement as its producer as they were from his star turn highly paid though that always was.
Hey Bob. Good breakdown on Anna M. and her connection to Marlon Brando. I agree her Rose Tattoo success was an exception versus a rule when looking at her box office grosses. Your comment makes me wonder who was the first million dollar. You left out James Stewart as another possibility. His Winchester 73 made him a fortune and is considered one of the final blows to the classic studio system. Good stuff.
I recall reading that Jimmy took away an ACTUAL $600,000 all told from 1950s Winchester 73 which was excellent back then when a good salary for a top star was reckoned to be for example $200,000 per movie.
However Jimmy’s actual $600,000 obviously fell short of the actual million that Brando/Archie/Liz and Golden were reputed to have been paid assuming they did really get that.
If though Brando for example DID get an actual million for Fugitive Kind that would have been in 1960 and according to the US Bureau of Labor Stats Jimmy’s $600,000 would have been worth $755,000 that year. [It is equivalent to $6.6 million today].
So your point is a good one: when the stars started to get % of profits following Jimmy’s coup probably in real terms there were others in the 1950s/60s who got near enough to the inflation adjusted equivalent of the actual $1 million that Brando/Archie etc were reported to have earned.
Great UMR Page
Thank you Mike.