Le amiche

Viewed today Michaelangelo Antonioni's "Le Amiche" feels like a dry-run for his great trilogy of alienation that began with "LAvventura". This movie isn't in the same class but it is still very fine. It's like Cukor's "The Women" minus the laughs as lonely, pragmatic Clelia, (an excellent Eleonora Rossi Drago), returns to her native Turin and falls in with a group of rich, bored and, in one case, suicidal women and equally bored and cynical men, the one exception being Carlo, (Ettore Manni), with whom she starts some kind of relationship.

If it's not quite as densely plotted as "L'Avventura" and if there are no set-pieces to equal those that were to come later in Antonioni's work it nevertheless displays a very cool intelligence that never panders to the clichés of this kind of female orientated picture; there are no hints of lesbianism and the friendships are fickle at best. Even as early as 1955 Antonioni was hooked on that old ennui. Not one of his masterpieces, perhaps, but an essential part of the Antonioni canon all the same.

Lorenzo Codelli introduced this film as the only real literary adaptation by Michelangelo Antonioni, based on a short novel written by Cesare Pavese, whose short life but impressive career had a largely influential impact on Antonioni's works. It's a film about women (the literal translation of the title of the story "Tra Donne Sole" means "Between Women Only"), in today's context known as the career girls, and it's also interesting to note that the co-writers of the screenplay were both female, each on opposite ends of the literary spectrum, one a "low-brow" pulp novelist, the other a "high-brow" writer.

And I guess this pairing provided a very complete and enjoyable story which in today's contemporary context would classify if as a chick flick, only that this had plenty of intelligence and a lot of heart, and doesn't come across as a dumbed down condescending story with many cardboard characters thrown in just because. Opening with a sprightly tune, and set in Turn, La Amiche has plenty of insights into the female psyche, and I am quite surprised that it had stood the test of time (more than 50 years!) to be as relevant today just as it was back in the mid-50s.

The story follows Clelia (Eleonara Rossi Drago) from Rome, sent to Turin to supervise the setting up of a fashion boutique branch, and in her temporary stay at the city, befriends a group of high-society and debatable successful ladies through the attempted suicide of one of their clique members Rosetta (Madeleine Fischer), who was found in her adjoining hotel room. From there we examine all their love lives, their work attitudes, their relationships with one another, the entire spectrum which while presenting themselves as little gossipy episodes that women might be prone to (I'm readying myself to be pelted with rotten tomatoes with that statement), it always felt that each individual piece was a perfect contribution to the entirety of the movie, with nary a wasted scene, nor unnecessary subplots provided just to bloat the story.

Antonioni has proved his deftness at handling an ensemble of characters (much unlike his earlier movies, or his famed Trilogy where only a handful of characters get explored) like the de-facto leader of the group Momina De Stefani (Yvonne Fumeaux) whose rich husband being always away on business provides her with an avenue for affairs and the need for constant emotional connection, or what I thought was the more interesting of the lot, was between successful ceramics artist Nene (Valentina Cortese) and her less successful painter fiancé Lorenzo (Gabriele Ferzetti), who becomes romantically linked to Rosetta after painting her portrait, or rather, it was Rosetta who throws herself at him. Completing the group is Mariella (Anna Maria Pancani), a flighty flirty woman with a devil-may-care attitude.

For some reason I was concentrating on the Lorenzo-Nene-Rosetta story, because it was quite compelling to see how it played out and developed, having one of them throw the first salvo at attempted suicide. It also provided a platform to examine how relationships can be strained possibly through emotions like jealousy and one being envious of the other's success, and maybe taking it out on the person through other means, such as the breaking of hearts. Again like Story of a Love Affair (I have no idea why I keep going back to this) it was a similar situation presented, though more explicitly presented rather than leaving it to second guesses. The confrontational scene between Nene and Rosetta was the best in the movie in my opinion, and one of the best I have seen in movies where rival lovers have to confront each other on the truth of the situation, and you can hear the unbelievable groans of an audience upon its resolution, which was quite pathetic and awkwardly delivered, by today's standards. Which is what was intriguing, as it highlighted the perceived role of a woman back then, that the career first mindset was still a novelty, and standing behind your man was possibly the only acceptable societal norm.

And it is this forward-thinking presentation and exploration of modern day themes even by today's standards, that make La Amiche a winner, being still relevant and all. Having 5 girls presented allowed for some comparisons over how some choose love over career despite expected setbacks which come part and parcel with it, and how some choose career over love, where one can excel in without the distractions of disappointment from the heart. Included as well is work ethics, when one doesn't have money as a prime motivator, one would wonder how the other non-tangible benefits would appeal to workers who have to turn up at work everyday, versus coming and going as they please, which I have experienced for myself (as on the receiving end of having to manage the non-attendance of others).

Other moments in the film that were equally enjoyable, include the fashion runway type shows in the old days, without the runway of course, where models have to present the clothes up close and personal in a closed door, intimate setting within the fashion boutique. And what was probably a precursor to the beach scene in L'Avventura get played out here, though it was a location for the rich folks to just stand around and flirt, with no real plan for a weekend getaway. It's still amazing how this particular little setting seem to squeeze so much into it, providing a catalyst for future incidents to burst out from.

Le Amiche will go down in my books as a story starring women, about women and for women that is still highly relevant in today's society. It has withstood the test of time perfectly, and its exploration of women, their relationships, their attitudes that differ depending on either their single or married status, is an amalgamation of keen observations that make this an enjoyable a must-watch, peppered with good punctuations of humour throughout.

I have seen again "Le amiche" after many years and considered it the best film of Antonioni, far better than those other famous films of the inventor of the un-communication, describing the industrial society of 60's Italy. The film is clear and enjoyable, with a perfect script, surprisingly modern after 45 years; in fact, in some aspects, more modern than films about today's society, more mature, more adult. The problems of women's evolution in society, the machismo, the vanity and shallowness of men, the bitchiness and emptiness of some women, the conflict between love and career...are all subjects masterly described by Antonioni in this beautiful film. The actors are superb, specially the actresses, main characters of this story: Eleonara Rossi Drago, the leading lady, apart from being beautiful has class, and one wonder why she didn't became one of the most important stars in European cinema. The others, are simply splendid: Valentina Cortese, what a voice! and Madeleine Fisher and Ivonne Fourneaux.

See this movie if you have the chance. I consider it one of the best Italian movies ever made.

While in Turin for the opening and managing of a branch of a fashion salon from Roma, the elegant Clelia (Eleonora Rossi Drago) finds the young Rosetta Savone (Madeleine Fischer) near death on the next room of her hotel after taking an overdose of sleeping pills trying to commit suicide. Clelia, who is alone in her hometown Turin, befriends Rosetta and her wealthy friends Momina De Stefani (Yvonne Furneaux), who is separated from her husband and easily replaces lovers; Nene (Valentina Cortese), a talented artist in ascension in her career married to the frustrated painter Lorenzo (Gabriele Ferzetti) that envies the success of his wife; and the futile Mariella (Anna Maria Pancani). Meanwhile, Clelia feels attracted by Carlo (Ettore Manni), the assistant of the salon's architect Cesare Pedoni (Franco Fabrizi), but he belongs to the working class living in a different social reality. When Momina and Clelia discover that the reason why Rosetta tried to commit suicide is because she felt in love for Lorenzo, the cynical Momina encourages Rosetta to stay with Lorenzo with tragic consequences.

Michelangelo Antoniani is the filmmaker of the troubled relationships and conflictive emotions and "Le Amiche" is a story about friendship and love disclosing female characters from the upper class that spend most of their times together with their empty and shallow lives. Rosetta is a needy and naive rich girl that falls in love for a painter that painted her portrait and attempts for commit suicide for the non-corresponded love. Momina is selfish, cynical and materialist that does not attach to any man and does not respect her friends. Nene is an insecure woman that sacrifices her promising career to stay with her unfaithful husband in crisis, forgiving him in the end. Mariella is simply a futile woman. Clelia is the opposite, a strong woman that came from the working class and has had a social ascension due to her work. Eleonora Rossi Drago, Madeleine Fischer, Yvonne Furneaux and Valentina Cortese give magnificent performances in the development of these rich characters, supported by great dialogs and wonderful cinematography in black and white. My vote is eight.

Title (Brazi): Not Available

Michelangelo Antonioni seems to adjust his visual style with his subject matter. In the very slow 'Red Desert', which is more or less a dissertation on how industrial surroundings inspire fatigue, the camera (as I recall) moved rarely.

Contrast 'Red Desert' with 'Le amiche', a nearly plot less gem. In doing so we begin to appreciate Antonioni's visual plan. In 'amiche', the camera is frequently moving; scenes typically begin with people passing through the frame and the cutting is brisk. The visuals perfectly match the overall theme of glib, upper-class, attractive adults stumbling into love and reacting to heartache. Just as the characters are free from the burdens the working class endure, so too Antonioni's camera work is free and lively.

Visually, 'Le amiche' is striking; superb. The cast is very strong (and beautiful). The economic class consciousness is also a powerful subtext.

Modern audiences may chuckle at how often (and nearly everywhere) the characters smoke cigarettes. They smoke at home, at their workplaces, restaurants, diners, fashion salons, hotel lobbies, outdoors and indoors. Was there any place where smoking was not allowed in 1950s Italy?