Duas Mulheres

Very bad print (even on DVD), but very good movie. A war film that focuses more on the people who suffer, instead of telling the story of those fighting the battle. It's also a movie about love, relationship, bonding between a woman and her daughter. Sophia Loren's performance is stellar. Belmondo is also very good. Young Eleonora Brown's performance gets better during the film. The last 30 minutes of the movie are poignant. It's heartbreaking to listen to Cesira apologize to Rosetta. Watch it.

Seen at home, in Toronto, on February 19th, 2006.

81/100 (***)

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.

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.

Sophia Loren, aside from being one of the most sumptuously sexy women I have ever seen, proves herself here to be a tremendous actress. She has a melodramatic Italian flair that impassions her lovably aggressive character, a widowed shopkeeper in Rome during the Allied bombing in WWII, who flees with her beloved daughter to her impoverish mountainous native region. Throughout the story, she proves to be a strong woman, seasoned by pain and not having lost the fire and fight in her.

Like many European films of its time, Two Women is all about the characters and the current on which they flow through the film, a realistic capsule of a time and place. Vittorio De Sica, who made the beautifully small-scale film The Bicycle Thief, which is about a relationship between father and son, forms a companion piece with Two Women, which is about a relationship between mother and daughter. He addresses strikingly the unbearable love between a parent and their child.

Truly one of the greatest Italian films, this is an absorbing, emotional, modest journey with wonderful music; coarse, down-to-earth cinematography from the wonderful old days of gritty film prints and old school hands-on editing; incredible acting not only from Loren but from the young actress playing her daughter, who drastically transforms; and also from Jean- Paul Belmondo, who convincingly plays completely against type; and a beautifully emotional final shot. For those who feel detached from older foreign films, especially neo-realist, I have yet to see an Italian neo-realist film any more alive than this one!

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.