Two Women

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.

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.

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.