Duas Mulheres

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!

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 (***)

Sophia Loren became the first player to win an Acting Oscar for a foreign language film in Two Women or La Ciociara in her native Italy. She plays the title role here, the other woman being her daughter played in La Ciociara by Eleanora Brown.

The story here is a relatively simple one, Sophia and Eleanora leave Rome due to the bombing of Rome just prior to the Allied invasion of Italy. The political situation is in one state of flux to put it mildly. In a matter of days, Benito Mussolini was overthrown and General Badoglio put in charge of the government. But the Nazis suspecting something was afoot sent in troops and met the Allies in a pitched 21 day battle at Salerno which like Waterloo was a close run thing.

At one point Jean-Paul Belmondo asks a couple of stray British paratroopers who landed way up behind enemy lines why the Allies didn't land in Rome. In fact they almost did land an army there, but Eisenhower canceled the landing at the last moment and probably saved a lot of lives doing so.

But this isn't about great battles, it's about Two Women just trying to survive the ravages of war in the best way they can. Sophia decides their best place is in her old village, south towards Naples. Before the film ends, she's given plenty of reason to rethink that decision.

Sophia was the Best Actress in 1961 for this film and for reasons I don't understand it was not given any other Oscar nominations, including for Best Foreign Language Film and for Best Director for Vittorio DeSica.

If La Ciociara has a fault it's that it's Sophia's show totally. The village characters and that of her one time lover Raf Vallone are left undeveloped. Only the daughter and young intellectual Belmondo who falls for the earthy Sophia seem to be on the verge of becoming three dimensional.

The subject matter could never have been done in an American studio with the Code still firmly in place. I remember back in the day La Ciociara was shown at the art house circuit and many young juveniles considered it a mark of daring to get in and see Sophia Loren expose more than her American films had done up to that time.

Sophia Loren deserved that Oscar, every bit of it. And you'll agree if you see La Ciociara.

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.

A unique film about the ravages of World War II, told specifically from the point of view of an Italian woman and her young daughter.

The woman is Sophia Loren, and she won the first ever Oscar given for a foreign language performance in this film. She plays Cesira, a spitfire who is blithely indifferent to Italy's role in the war until the horrors of it hit home in deeply personal ways when she and her daughter leave bomb-addled Rome to trek across the Italian countryside to wait out the fighting. Most WWII films are told from the point of view of the men in combat or the women who wait at home patiently for them, letting their commitment to the cause be their solace. Few films are told from the point of view of women on the wrong side of the conflict (as we've been taught) who don't much care who wins or loses as long as their lives are left untouched. One would be justified in thinking that Loren's character is either selfish or naive, or both, but one would have to be inhuman not to feel compassion for what happens to her and her daughter.

Loren was known as nothing but a sex kitten at the time of this film's release, and director Vittorio De Sica uses this to his advantage. Her Cesira is a woman who's used to being alluring to men and isn't above wielding her sexuality when it might work to her advantage. But Loren goes far beyond sex kitten in this film, to something nuanced and ultimately heartbreaking.

Grade: A