Dos mujeres

I confess that this film was showing late one night on TCM and initially the idea of a war film was not an appealing prospect at one o'clock in the morning.

That being said,I realized how much we lose by prejudging film, and actors by their more recent performances. As Sophia Loren was popular before my time, I remember her from fluff and spy movies such as "Arabesque" with Gregory Peck. A forgettable film, at most. Not so for "Two Women".

The performance of her innocent daughter Rosetta, is also marked and memorable. Refugees from the bombing of Rome during World War II, Sophia Loren as Cesira, and her daughter are fleeing the city, come across relatives in the country, and encounter a harrowing fate.

The feel of the film is palpable and stark, the scene and the shadows of the men as they come across these two women in the effigy of a church, is ominous and effective. The expressions and body language of Loren are heart-rending and sorrowful, as we see her realize what has become of her daughter, what has become of their world. The scene I will remember most is where she is finally rescued, her daughter begins to sing, recovering from the attack. Cesira (Loren) turns her face outward, toward the window, ravaged and ruined, yet finding some strength to continue on. We see a multitude of emotions cross her face without uttering one word.

Truly a film not to be missed for Sophia Loren's performance alone. 9/10.

It's WWII. Cesira (Sophia Loren) flees Rome away from the allied bombing for the sake of her 13 year old daughter Rosetta (Eleonora Brown). She's a widow of a loveless marriage and she's the object of everyman's desire. They go back to Cesira's home village. The idealistic anti-Fascist Michele Di Libero (Jean Paul Belmondo) falls for her. Mussolini is imprisoned and Michele is overjoyed. They even help a couple of English soldiers. The situation deteriorates as the war closes in and food becomes scarce. A group of Germans force Michele to lead them back to their lines. As the Americans approach, the villagers clear out. Cesira decides to go back to Rome on their own. They take shelter in a bombed out church where they are both raped by a large group of Arab soldiers.

Sophie Loren is magnetic. She powers every scene. Eleonora Brown does a good job keeping up. The story meanders a little. There are a lot of unrelated things that pop up. All of a sudden, there's a Russian deserter. The randomness sometimes help the story. When the story moves to the German occupied town, it really starts to move. The tension gets ratcheted up higher and higher.

I gave this film 9/10 while understanding its weaknesses. First, as others note, the print is the worst I've ever encountered sometimes turning faces into gray pudding, but the problem was not so great to keep me from responding fully to the film's power, and I decided to evaluate the film rather than the print. I have more serious concerns about events at the film's climax which raise issues which are resolved too quickly. In fact these issues might be the subject of a whole new film, and if treated here they would require another hour of play time. The films hasty resolution of these issues makes important behaviors seem poorly motivated and unbelievable. However, the issues in question are not the central issues of the movie. When Cesira apologizes to her daughter (and at other points) I was left sobbing in spite of the film's failure to properly address the daughter's final trauma. This is not a about recovering from trauma. Rather, it is a film about human fallibility and self-deception or, as Michele puts it, "You can't escape, not even from yourself." Cesira faults others while never examining her own behavior. Like those around her, she acts only to preserve her own immediate interests. At the other extreme. Michele's idealism prevents him from realizing his own humanity. Only Rosetta demonstrates the purity to see beyond self-interest, and the instinct to truly tell right from wrong. Her downfall is the tragedy of the film. Yet through all of this the film shows us how, when pushed to extremes, these people are capable of forging deep human bonds. Such bonds have the power to redeem all as they finally redeem Rosetta. I can't conclude without adding my own appreciation for Sophia Loren's extraordinary performance.

***SPOILERS*** Set in 1943 war torn Italy the movie "Two Women" is about a mother and daughter leaving Rome for the , what they think, safety of the countryside and going back to their little village in the hills and mountains in the Agro Pontino area just north of Rome.

Sophia Loren in a somewhat non-glamorous role as Cesira a shop owner in the Italian capital who's estranged from her husband and is, at the time that we first meet her, having an affair with local food distributor Giovanni, Ralf Vallone. Taking care of her shy teenage daughter Rosetta, Eleanor Brown, Cesira has had enough of the almost daily and deadly bombing by the USAAF and RAF and leaves the city with her daughter by train for her home town. There's trouble almost as soon as the train leaves the city with it being derailed by an Allied air attack. Leaving the disabled train and on foot both Cesira and Rosetta make it to the village after they survive an air attack by a USAAF fighter that killed a farmer who was walking on the same road with them.

After getting to the village things are more or less peaceful, with the war just an old and bitter memory, with Cesira meeting and falling in love with the local intellectual as well as socialist young collage student Michele,Jean-Paul Belmondo, who even young Rosetta takes a strong liking to. The almost forgotten war slowly catches up with Cesira and Rosetta and the people at the small village as the Allied forces break through the German lines and reach the outskirts of Rome. It soon becomes too dangerous for the village people to stay and they start to leave and go south to the Italian capital city which is now in US/Allied hands. Before this happened a squad of German soldiers entered the town and took Michele with them as a guide through the dangerous hills and valleys of the Argo Pontino.

On their way to Rome the two women, Cesira & Rosetta, stop off at a bombed out church to get some rest and are later set upon by a group of French Colonial Moroccan troops. The Moroccans brutally beat and gang raped them leaving young Rosetta almost mute with fear and shame of what happened to her and her mother. Getting back on their way to the Italian capital Cesira & Rosetta are both picked up by a local truck driver Firindo, Renato Salvatore. Stoping off at a small town outside of Rome that night Rosetta who seemed to have completely lost her mind, since she and her mother were raped, sneaks out of the room that she sharing with Cesira and has an affair with the truck driver. This both sickened and outrages her already distraught mother. The movie ends with Cesira getting the terrible news that her lover Michele was shot and killed by the Germans as we later see both mother and daughter alone in their small room arm in arm crying and consoling each other as the movie slowly fades to black.

Sophia Loren rightfully who got an Academy Award as best actress for 1961 in the role of Cesira was both feisty as well as touching as the long suffering Italian mom. The vicious rape scene in the bombed out church of Cesira and Rosetta was not only graphic and shocking. By having this outrage committed by the liberating allied troops instead of the occupying German soldiers it showed that there's nothing good that comes out of war on either side.

Sophia loren, undoubtedly and unarguably has delivered the greatest performance in the history of movie. Her performance as the widowed mother of a teen age girl in this movie that depicted the horrors of the second great war was absolutely heart-felt and perfect. Rarely can one actor or actress possibly rise to such occasion to deliver a performance of such magnitude. It demands pure talent. Full credit to the directing great Mr. De sica for his creation. Should be watched in its original version to get the best of it.