La romana

Gina Lollobrigida goes to work as an artist's model in 1930s Rome. She is young, beautiful, and desired by many men, some whom lie to her, like Franco Fabrizi, some who force her, like Raymond Pellegrini, some who threaten her, like Renato Tontini.... and then there's Daniel Gélin.

All of them claim to love her. Will any of them work out? It's a tough, cruel life for a beautiful young woman, surrounded by men who lie to her. Luigi Zampa's drama shares some story-telling techniques from Neo-realism, but it's a glossy studio production that shows off Lollobrigida's beauty and acting talents. Like many movies about hard times for poor women, it harkens to the Japanese shomin-gekkim, the low-class tragedy. Although this doesn't seem to offer any particularly deep message, it's fine commercial film-making, far more telling than the repressed Hollywood weeper of the era

This film is best characterized as an Italian noir, for it has a special character of its own which is not in the same room as the great Italian neo-realistic masters. It doesn't claim to be neo-realistic either, but it is almost documentary, or would have been, if it didn't enhance the acting of Gina Lollobrigida so much. Of course, she makes a memorable performance, like in those other early films of hers during those years, but her fate as a prostitute under the regime of Mussolini in 1935 comes into the shadow of Gina herself and her personality. The only one to match her personality is her mother, Pina Piovani, who has been through it all before and raised her one child and daughter without a father. Also the four men that refuse to leave her alone fall into her shadow, as they all become obsessively dependent on her and therefore can't manage their own fates - one of them gets murdered by one of the others, and Nino, the most decent of them, the anti-fascist, ends up in an existential blind alley. Gina survives with her one heritage of this sordid life, like her mother, and so the perpetual mobile of life just goes on, and all you can do is to follow or jump off, which after all is the worst thing you can do. The film is beautifully made, it's not neo-realistic or expressionistic, but in the later part there are some very striking scenes, and Alberto Moravia himself, the author of this famous novel, appears to have had a say in the staging. It is indeed worth watching and carefully as a very interesting complement to the already very prominent cinematic art of de Sica, Visconti, Fellini and all the others.

So many movies glorify prostitution, and so many movies don't capture one hundredth of the essence of confliction a woman has to go through before she joins that profession. Woman of Rome is an Italian drama that shows how Gina Lollobrigida walks the streets...for no good reason.

Gina is a good girl with a pushy mother, Pina Piovani, who wants her to use her beauty to catch a rich husband. Instead, Gina falls for a penniless chauffer. Before she finds out he's already married and has a family, she goes out on a double date with a girlfriend, who is a prostitute. Gina knows what's going on, and she drinks too much wine and goes into the back bedroom with her date. Then, on the drive home, he gives her some money and she acts horrified. While it's a lovely expression on Gina's face, it doesn't exactly endear her to the audience. She made such bad choices before she could have been seen as taking revenge on her married boyfriend. After she does find out his situation, she becomes a prostitute full time.

This movie really isn't very good, even for Gina Lollobrigida fans. Yes, she looks beautiful, but the story is really silly. It's full of constant and needless narration from Gina herself, and her exploits make her unlikable, at best. If you're in the mood for a better foreign drama, check Gina out in The Law instead.

With the "Duce" still very much in charge of Italy, the young "Adriana" (Gina Lollobrigida) is coasting along in life, using her good looks to attract the attention of "Gino" (Franco Fabrizi) and hoping that they will marry. A casual meeting with aspiring Fascist "Astarita" (Raymond Pellegrin), however, soon puts that plan on the fire - especially as he clearly has designs her himself. She's a bit despondent and turns to the game to make her living. At times she comes across as almost desperate for love, for attention - yep, even sex, but perhaps when she meets "Mino" (Daniel Gélin) she might find some sort of purpose in life? Well the fly in that ointment is that he's a committed anti-Fascist and is known to the authorities. With him taking risks on a daily basis and her in possession of some fairly profound news, is there any hope for redemption for her and happiness for them? This is certainly one of Lollobrigida's better efforts as she tackles this role with quite a degree authenticity. There's virtually no glamour for her to hide behind and she delivers with a rawness as the young woman whose options are largely limited by her looks - a situation common to many women at the time. The choices of men her character makes are maybe not the best but both Gélin and Pellegrin provide solid foils as the story develops juggling romance with elements of politics and crime. It's touching at times, steadily paced and well worth a couple of hours, I'd say.

I wonder why there's no review of this film up to now, not only because it's a very good movie. Beside of that, it features one of the biggest female movie-stars of the 20th century, Gina Lollobrigida, in an early leading role, in the prime of her beauty. To my taste, she appears here much more impressive than in later and better-known roles. The underlying story ('La Romana')was a big success in the USA in the year 1947, and millions of it were sold worldwide, was written by one of the most famous 20th-century-Italian writers, Alberto Moravia. The film itself is a late example of the equally famous Italian neorealistic style, with a depressing finale, regarding its heroine.

The story is set in the Italian fascist era (1935), full of tension, and very atmospheric. The streets, cars and people of the later post-war-Rome (1954, when the film was made)are shown in gritty black-and-white. In a sequence playing within a Cinema, film within film, one sees marching fascist Italian troops on the screen, giving a feeling as if you were a cinema-visitor yourself, and then the propaganda is suddenly cut short by an action of anti-fascists. In spite of a scene like this, the film centers on the individual aspects of the protagonists, rather than on the underlying political aspects.