Le amiche

Michelangelo Antonioni seems to adjust his visual style with his subject matter. In the very slow 'Red Desert', which is more or less a dissertation on how industrial surroundings inspire fatigue, the camera (as I recall) moved rarely.

Contrast 'Red Desert' with 'Le amiche', a nearly plot less gem. In doing so we begin to appreciate Antonioni's visual plan. In 'amiche', the camera is frequently moving; scenes typically begin with people passing through the frame and the cutting is brisk. The visuals perfectly match the overall theme of glib, upper-class, attractive adults stumbling into love and reacting to heartache. Just as the characters are free from the burdens the working class endure, so too Antonioni's camera work is free and lively.

Visually, 'Le amiche' is striking; superb. The cast is very strong (and beautiful). The economic class consciousness is also a powerful subtext.

Modern audiences may chuckle at how often (and nearly everywhere) the characters smoke cigarettes. They smoke at home, at their workplaces, restaurants, diners, fashion salons, hotel lobbies, outdoors and indoors. Was there any place where smoking was not allowed in 1950s Italy?

Clelia (Eleonora Rossi Drago), an elegant lady from Rome, comes to her hometown Turin in order to check if the works would fit the dates in the house where she is going to establish her new fashion salon. When she stays at a hotel, a terrible event takes place in the opposite room 112...a young woman, Rosetta Savone (Madeleine Fischer), has attempted to commit suicide... Why? The answer lies in the complicated relations of a group of women whom Rosetta has known for long and whom Clelia joins as a friend. Although the action starts in "media res" and the events constitute about 7 days, the characters from this movie are unforgettable as well as its content filled with wonderful thoughts about significant aspects of life and happiness. Therefore, although Michelangelo Antonioni is famous worldwide not thanks to this movie, I consider LE AMICHE one of his very best cinema works. Let me discuss some of the film's strongest points in more details.

The film can boast a particularly rich character development. The girlfriends (title "amiche") are mostly women from leisure social classes who spend their lives on unimportant cases, particularly clothes, parties, and Sunday afternoon trips to the seaside. Momina De Stefani (Yvonne Furneaux) is the oldest of them but at the same time the most selfish. She treats life as a game to play limiting it to perfumes, beauty creams and clothes. It is her that bores Rosetta most by her cynical behavior. Mariella (Anna Maria Pancani), a woman that today men would describe "a dolly", represents this vanity most. She thinks the woman's dress is skin and is ready to do anything to look beautiful. In between comes Nene (Valentina Cortese) who is rather torn psychologically between her interests and the reality she lives in (marriage). Rosetta is tired of living with them and looks for a true and stable happiness with a man she cannot marry... Throughout the film, a viewer can feel what characters feel since great focus is put on emotions. However, it would be a limited view to say that only female characters are developed. There are also men who step in with their different world-views. The emphasis is put on Lorenzo (Gabrielle Ferzetti), Nene's husband, an artist painter whose career and family life are exposed to crisis. He cannot stand the vanity of the women but at the same time is torn between his desire for career and the marriage he lives in. Finally, Cesare (Franco Fabrizi), an architect, man from high society represents rather an arrogant person but in the end, someone who does not treat problems as seriously as Lorenzo. In this way, LE AMICHE is not only a story of women but, foremost, an interesting insight into male-female relations, their different world-views, different feelings. Consider Rosetta-Lorenzo conversation and the two different ways they see love...

Besides, Antonioni's movie is a treasure of psychological thoughts and treatment of significant issues of life. Here, a mention must be made of Nene-Lorenzo's marriage and the aspect of forgiveness. "A childless couple can stay together only for love" says Nene to Rosetta in their conversation that is a masterpiece of acting and script by Suso Cecchi d'Amico. Yet, forgiveness cures everything... Apart from that, the words that a salon's lady says to Clelia are also worth consideration: "Happiness means no reflecting upon if I am happy or not but simply living my life." I also loved the moment when Rosetta travels by train with Clelia and they talk about the need of friends, the gist of being happy and the best possible way to live life. How intellectually these problems are treated! Magnificent! And all this embedded in the interesting gentle tunes by Mario Fusco.

The cast give such fine performances that viewers have a chance to get to know the characters much better than in many other films. Yvonne Furneaux is exceptionally memorable as cynical and calm nerved Momina whose sole aim of life is the good appearance and who plays with others' feelings. Eleonora Rossi Drago is very sensible as Clelia expressing her elegance and positive character of a woman who finds happiness in her satisfying work. Madeleine Fischer is wonderful as Rosetta Savone, a desperate person who cannot live a happy life. Finally, Valentina Cortese is unforgettable as Nene, probably the fairest of them all ready to sacrifice everything and forgive everything.

LE AMICHE shows the life from its objective perspective and therefore it is a movie absolutely worth attention for anybody. LE AMICHE is filled with profound thoughts even if its content seems to be filled with vanity and therefore, it is Antonioni's psychological masterpiece. LE AMICHE is an empathy with those in despair and therefore, it is not dated though more than 50 years old. Finally, LE AMICHE is characterized by great performances and therefore, it is a pearl among Italian films. Pity that there are so few comments on the site. 8/10!

I have seen again "Le amiche" after many years and considered it the best film of Antonioni, far better than those other famous films of the inventor of the un-communication, describing the industrial society of 60's Italy. The film is clear and enjoyable, with a perfect script, surprisingly modern after 45 years; in fact, in some aspects, more modern than films about today's society, more mature, more adult. The problems of women's evolution in society, the machismo, the vanity and shallowness of men, the bitchiness and emptiness of some women, the conflict between love and career...are all subjects masterly described by Antonioni in this beautiful film. The actors are superb, specially the actresses, main characters of this story: Eleonara Rossi Drago, the leading lady, apart from being beautiful has class, and one wonder why she didn't became one of the most important stars in European cinema. The others, are simply splendid: Valentina Cortese, what a voice! and Madeleine Fisher and Ivonne Fourneaux.

See this movie if you have the chance. I consider it one of the best Italian movies ever made.

Michelangelo Antonioni's tale of postwar Italian women in the big city trying to make right their loves and their lives is a powerful and moving melodrama that does not rely on as much high-strung emotion scenes as you would initially think. The film begins with a captivating establishing shot of the skyline of Turin, a smaller Italian city that nevertheless is bustling and adapting to the incredible changes Italy experienced after the devastation of World War II. Now, women are at nearly the same level as men in terms of work placement and influence in the community.

The connection to the audience is Clelia, who has moved to Turin from Rome to run a new salon. She immediately conflicts with two men, one who is the architect of the salon and the other a painter while falling for another, he being the architect's assistant. Soon, she has endeared herself to a small group of closely-knit friends who seem to know or at least suspect all of each other's secrets. Because she is an outsider, we are able to view this group in the same way she does. Some of these people we sympathize with such as Lorenzo the painter who is married, has a suicidal mistress who loves him deeply yet still remains terribly unhappy. What we are left with is a touching tale of women finding this new world in which they occupy terribly different and exciting.

Fashion is a big part of this story, which Antonioni seems to use as a way of showing the shell in which these characters protect themselves to avoid true emotional commitment. Some will dislike the film for being somewhat soapy and relying too much on subplots that are irrelevant to the overall story, but here Antonioni is establishing themes and techniques he would use in later films that now define his style. Alienation, ambiguous emotions and indifferent attitudes are ever present here, which gives us a different flavor of a melodrama than American films tend towards. Besides the important themes Antonioni presents, his craft is also engaging, showcasing his rising talent that would make him a staple of world cinema.

While in Turin for the opening and managing of a branch of a fashion salon from Roma, the elegant Clelia (Eleonora Rossi Drago) finds the young Rosetta Savone (Madeleine Fischer) near death on the next room of her hotel after taking an overdose of sleeping pills trying to commit suicide. Clelia, who is alone in her hometown Turin, befriends Rosetta and her wealthy friends Momina De Stefani (Yvonne Furneaux), who is separated from her husband and easily replaces lovers; Nene (Valentina Cortese), a talented artist in ascension in her career married to the frustrated painter Lorenzo (Gabriele Ferzetti) that envies the success of his wife; and the futile Mariella (Anna Maria Pancani). Meanwhile, Clelia feels attracted by Carlo (Ettore Manni), the assistant of the salon's architect Cesare Pedoni (Franco Fabrizi), but he belongs to the working class living in a different social reality. When Momina and Clelia discover that the reason why Rosetta tried to commit suicide is because she felt in love for Lorenzo, the cynical Momina encourages Rosetta to stay with Lorenzo with tragic consequences.

Michelangelo Antoniani is the filmmaker of the troubled relationships and conflictive emotions and "Le Amiche" is a story about friendship and love disclosing female characters from the upper class that spend most of their times together with their empty and shallow lives. Rosetta is a needy and naive rich girl that falls in love for a painter that painted her portrait and attempts for commit suicide for the non-corresponded love. Momina is selfish, cynical and materialist that does not attach to any man and does not respect her friends. Nene is an insecure woman that sacrifices her promising career to stay with her unfaithful husband in crisis, forgiving him in the end. Mariella is simply a futile woman. Clelia is the opposite, a strong woman that came from the working class and has had a social ascension due to her work. Eleonora Rossi Drago, Madeleine Fischer, Yvonne Furneaux and Valentina Cortese give magnificent performances in the development of these rich characters, supported by great dialogs and wonderful cinematography in black and white. My vote is eight.

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