Ádua e Suas Companheiras

Very fine, gloriously black and white, very well acted drama involving four girls who decide to pool their resources and run a restaurant together when their brothel is closed down. There are so many moments where this could easily have become sentimental and doesn't and is much to the director's credit that this looks so good throughout. The jazz soundtrack is a great help as are the snatches or 'real life' - the steam trains rushing below car dealer Mastroianni's window, the fine moment in the main street when he passes off Signoret's failing car to another whilst slipping her into one more. But the best of all such sequences is the final shot upon the cobblestoned street in the pouring rain and without a cloying close-up, we all know exactly what the facial expression is. As I say all the acting is good but Signoret particularly puts in another excellent performance where she ranges from sexy to sad and energetic to dejected, but perhaps best of all her verbal onslaught upon 'the landlord'.

The city is closing down the disorderly houses, but Simone Signoret and her fellow working girls have a plan. They'll open a restaurant in the suburbs and and take men upstairs. Yet, as they work hard to get the restaurant up and working, they find themselves changing.

The 1960s saw the Italians produce some serious movies about working girls, but director Antonio Pietrangeli has directed a fine one here, one that shows the women as individuals, and gotten some fine actresses in the roles; not only Signoret, but Sandra Milo, Emanuelle Riva, and Gina Rovere. They do a fine job, and the script but Pietrangelo with Ettore Scola and Ruggero Maccari makes it clear that the problem is not just with the women, but with the corrupt and venal attitudes of the men around them.

At first I thought this was too long a movie -- it's more than two hours from start to finish -- but there's not a wasted moment.

What a perfect piece of Italian neorealism this is. I am seriously wondering why it is not included in all of the usual lists with I ladri di biciclette, Umberto D, Roma Citta Aperta, etc. A gripping story about the life of prostitutes and how they struggle to survive against all the odds. Also a story about classism and hypocrisy, more generally. Simone Signoret is excellent as always, but so is Emanuelle Riva. Plus Marcello Mastroianni plays the consummate cad. All in all, extremely well done with a gripping story and a searing look at politics and classism in Italy.

Highly recommended.

Italian screenwriter-director Antonio Pietrangeli died young at the age of 49, during a drowning accident while shooting COME, QUANDO, PERCHÉ (1969), and ADUA AND HER FRIENDS, perhaps is his most distinguished work treads the post-Neorealism soil with a broad comic vibe.

Adua (Signoret) and her three friends, more specifically, her workmates, Lolita (Milo), Marilina (Riva) and Milly (Rovere) are prostitutes, who are out of work due to the Merlin law, which made brothels illegal in Italy in 1958, together, they invest all their savings to open a trattoria in the suburbs of Rome, hope to start a new business and leave their dishonourable past behind, but a second chance seems to be a dashed dream for people like them. The restaurant business is thriving, at one time, their customer even includes the famed cantautore Domencico Modugno, but soon the reality check will catch up with these girls, a bleak coda shows that the society is not ready to welcome them back with warm arms.

The synopsis sounds rather despondent, but the movie is beguilingly infused with a boisterous commedia dell'arte sheen. The quartet itself doesn't hold together in the first place, Lolita is a hackneyed bimbo, gullible and care-free , who foolhardily believes in her swindling beau Stefano (Tedeschi); Marilina is the cynical one made up with plenty of bile and has an unbaptised son to care about; Milly, is an unassuming hard-worker, who is really close to a happy marriage with their one of their frequenters Emilio (Rais); finally Adua, the oldest and wisest among them, has a worldly perception but her ill-fated romance with a smooth-talking Italian Romeo Piero (Mastroianni, in his usual dashing and flirtatious flair) can only spell happiness is nothing but a dashed dream for her, Signoret again cement the scenes where superficial comedy head-butts with harsh realism.

Pietrangeli never shifts his sympathy towards these women of ill repute in his vigorous portrayal, even for Marilina (Riva is equipped with searing fierceness here), whose wanton behaviour initially occasions a fervent sense of objectionableness, but her hard edge begins to mellow once her son is back in her life. They are far from perfect, but at least, they try very hard to be self-sufficient, which is in sheer comparison with all the men in their lives, are either ignoble self-seekers, callous brutes or dreadful cowards, save for the layman priest (D'Amore). The condemnation is sublimated in the ending, where although only Adua is present, but if she is at her wits' end, it is not difficult to imagine what happens to the other three. On balance, the film is a diverting romp carrying a scorching message, deserves the attention of hardcore cinephiles.

I will never be tired of seeing "Adua e le compagne", this black and white film is a jewel of Italian cinematography with a plot easy to understand, and excellent acting of four women, French star Simone Signoret, then-young Sandra Milo, Gina Rovere and Emmanuelle Riva, all playing the role of prostitutes who wanted to incorporate themselves honestly to the society. Their acting was seconded by the experienced and charismatic Marcello Mastroianni in the role of a typical Italian tricky pigeon and lover. Italy of the 50s had the problem of prostitution, and mafia was around it together with some "gentlemen" of the corrupted local administration always looking for licenses, permits and other documents in a tricky way to facilitate the work of the prostitutes who at the same time had to pay heavy sum of money to the above-mentioned gentlemen. The director Antonio Pietrangeli was able to show clearly where the problem was and who were promoting the dirty business of prostitution. In addition, youth does not last forever and the same happened with the beauty of the prostitutes. The film also shows this fact convincingly. The DVD of this film exists but only in Italian, and it would be good to have it in other languages (English, Spanish and French at least).