Two Women

Tags

1960's, Drama, Eleonora Brown, Foreign Language Film, Jean-Paul Belmondo, Sophia Loren, Two Women, Vittorio De Sica, World War II

Film Title

Two Women

Director

Vittorio De Sica

Starring

• Sophia Loren as Cesira
• Eleonora Brown as Rosetta
• Jean-Paul Belmondo as Michele

A harrowing account of a mother trying to protect her daughter in the dark days of World War II, Two Women is strikingly told and excellently acted. Occasionally it gets a bit meandering, but the grim power and authentically moving performance from Sophia Loren make Two Women a must see.

It is the Second World War and in Rome, widowed shopkeeper Cesira is struggling to cope with the constant uncertainty and bombings that terrify everyone. Her main priority is keeping her 12-year-old daughter Rosetta safe, no matter what. Having saved up some money and collected what she needs, she heads with Rosetta to the hills of her childhood, looking for sanctuary. The journey to the hills is fraught with difficulties and horror, but the two persevering women carry on. Once in the poor but a lot more sheltered regional village of her past, Cesira attempts to carve a life for her and Rosetta until the war calms down and they can return to Rome. Along the way, Cesira becomes attracted to young idealist Michele, who also harbours romance for her. Though she develops feelings for him over time, her primary concern is Rosetta and Cesira knows that her impressionable daughter has a crush on him. Times are tough due to shortage of supplies and amenities, though resourceful Cesira tries to make the best of things by foraging food and just protecting her daughter from the horrors of war as long as she possibly can. Yet just as it seems safe for Cesira and Rosetta to return to Rome with the war seemingly hitting a turning point, they encounter brutal tragedy at the hands of Moroccan soldiers.

Vittorio De Sica wisely brings his credentials as a purveyor of neo-realism out here, highlighting the stark and unforgiving fallout war can cause and especially on those left behind. None of the film is varnished or dressed up to look smooth, it is depicted with astonishing naturalness and harsh reality thanks to De Sica’s expertise. It deftly captures the way that a war can impact on people and their lives, one minute it seems calm, the next minutes it is a mass upheaval. There are those out there that will dismiss the film as overly episodic, but by and large, it’s an honest picture of the sea saw of terror and not knowing when . Two Women is not without nicer moments of people attempting to raise their spirits, but these are coupled with scenes of shock and grit that never lets us forget that this is only a temporary respite from a difficult time. Some parts do feel a bit rushed and there are parts that linger too long for their own good, yet the bigger picture and power of the piece always manages to bring it all back to something exceptionally genuine. The last half especially will emotionally devastate and shock viewers with its intensity and raw, visceral content that leaves a mark. The black and white cinematography highlights the bleakness of war and what it does to people, both emotionally and physically. If Two Women had been in colour, a lot of the impact would have dissipated. Music is employed sparingly but appropriately, allowing the main story and themes of survival to flourish but also give an emotional pull when required.

Sophia Loren is simply put powerful and forceful in the lead role; it’s no surprise she won the Academy Award for her raw and heart-rending work here. The role of Cesira is embodied so naturally and with grave, hard-working determination by Loren that you can’t tear yourself away from the screen. She excels at colouring the role with the deep maternal instinct and love, without resorting to melodrama and needless overdramatising. Sure Cesira says what she thinks and can be very feisty, but in the hands of Loren, we glimpse the little nuances of the character that complete the whole. We get many sides to the woman; the caring side, desolation and vulnerability, along with an outspoken attitude and unwavering strength that all make it a triumph of intensity and authenticity. From the first moment you see Loren cradling her daughter from harm and screaming that she wishes the war would end, you just know that the performance is going to be something special. Before this film, Sophia Loren had largely been cast in parts that were merely glamorous and weren’t ones that showcased the talent she had. She really showed off her abilities with this award collecting part, that will haunt the mind for days to come and established herself as an actress to be reckoned with. Eleonora Brown forges a realistic and convincing bond with Loren as the young innocent daughter, whose experiences leave her shell-shocked and she has to grow up quicker than expected. This tender relationship is the heart of the movie and is played magnificently. Jean-Paul Belmondo has probably the least demanding role of the central three, but nonetheless conveys the free thinking and opinionated feelings of the young idealist.

Anchored by the superb work of Sophia Loren showing her mettle and the honest direction of Vittorio De Sica , Two Women is a dark and stark evocation of the horrors endured in World War II and the power of a mother’s love.

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It Started in Naples

Tags

1960's, Clark Gable, It Started in Naples, Marietto, Melville Shavelson, Romantic Comedy, Sophia Loren, Vittorio De Sica

Film Title

It Started in Naples

Director

Melville Shavelson

Starring

• Clark Gable as Michael Hamilton
• Sophia Loren as Lucia Curcio
• Vittorio De Sica as Mario Vitale
• Marietto as Nando

A somewhat mixed romantic comedy, It Started in Naples is thankfully enlivened by the star pairing of Clark Gable and Sophia Loren as well as an amiable enough story and the lovely scenery of Italy.

Michael Hamilton is a respected Philadelphia lawyer who travels to Naples after being informed of his estranged brother’s death in a boating accident. Michael is an upright man who has no time for any other culture and wants business to be taken care of quickly. Naturally this doesn’t happen for him on his arrival. What he also discovers thanks to Mario Vitale, an Italian lawyer who knew his brother, informs Michael that his brother had an illegitimate child named Nando who is currently being raised by his Aunt Lucia Curcio. Journeying to the beautiful nearby island of Capri, he finds that Lucia is an uninhibited and beautiful woman of modest means who gets by from dancing at a local nightclub. Young Nando is a charming ragamuffin who smokes, skips school and stays up late, much to the shock of Michael who doesn’t think this environment that Lucia provides is beneficial for the child. Michael finds himself growing fond of Nando and thinking that the young boy should be in a place of some opportunity instead of what he considers squalor, decides to fight for custody for the young boy, with the intention of bringing the boy back to America. But Lucia has other ideas and uses her considerable assets in an attempt to remain with custody of Nando. So while both Michael and Lucia play tug of war to gain custody of the impish Nando, they both find romantic feelings growing between them, due in no small part thanks to lawyer Vitale who meddles in their unspoken emotions and brings them out amusingly.

Melville Shavelson competently directs this light film with knowledge for both romance and comedy. He may take a little too long with exposition, but once the romance and comedy aspects are present his direction is free and easy, helped by a dose of irony. It Started in Naples mainly suffers somewhat from a by the numbers story and the fact that it runs too long. From the beginning, we can see where the plot is going and it makes the film both predictable yet somehow enjoyable. The film is essentially a one-joke movie of Michael experiencing a culture clash that leads to romance with Lucia, but at least the other spots of humour have a warm and pleasing quality. Overall with It Started in Naples, the positives outweigh the negatives as the energy of the film is sustained by the direction and glamorous romantic pairing of Loren and Gable. And deserving a special mention are the luscious visuals that fill the settings of Naples and Capri with shiny exuberance and colours of romance. It paints a breathtaking picture of these places that seriously have you wanting to book a flight there as soon as possible. A lively music score is utilized to great effect here, including a couple of songs. The highlight of these is a cheeky and sexy number performed by Lucia in a nightclub that represents one of the best and most energetic parts of the movie.

In one of his last roles before his death, Clark Gable still shows his considerable authority and charm that made him an iconic star. He brings out Michael’s cynical and intolerant attitudes that are eventually worm down by the surroundings. Despite the character being an uptight individual, Gable showcases that roguish charm that we all know and love. He wasn’t known as ‘The King’ for nothing. Providing a comical and sexy foil is Sophia Loren in a delightful performance as the earthy and voluptuous Lucia. Fun-loving, sensual and scheming on occasion, Loren displays her skills with comedy here and is stunning to watch, as well as boasting one of the most infectious laughs you’re ever likely to here. And despite the obvious age gap between the stars, they do have a wonderful chemistry with each other that can be felt. Vittorio De Sica emerges as a real scene-stealer here as the skirt-chasing lawyer who isn’t exactly the best person to be representing Michael but whose in turn leads to romantic feelings blossoming for them outside of court. The youthful presence of Marietto is charming when he’s playing Nando, who thinks he’s a lot older than he is but his childlike actions betray this sense of maturity he believes he has making him an engaging child.

It could have been a better film than how it turned out, but It Started in Naples has enough humour and chemistry( plus the beautiful backdrop of Italy) to make it a pleasantly light film to watch. It has its share of flaws, but a serene charm shines through the mixed proceedings that will surely leave with you with a smile on your face.

Yesterday, Today and Tomorrow

Tags

1960's, Comedy, Drama, Foreign Language Film, Italy, Marcello Mastroianni, Portmanteau, Sophia Loren, Vittorio De Sica, Yesterday Today and Tomorrow

Film Title

Yesterday, Today and Tomorrow

Director

Vittorio De Sica

Starring

• Sophia Loren as Adelina Sbaratti/Anna/Mara
• Marcello Mastroianni as Carmine Sbaratti/Renzo/Augusto Rusconi
• Aldo Giuffrè as Pasquale
• Gianni Ridolfi as Umberto
• Tina Pica as Grandmother

Yesterday, Today and Tomorrow is three tales of comedy and drama directed by Vittorio De Sica, best known for his work in neo-realism. Starring Sophia Loren and Marcello Mastroianni in three tales of the power of sexuality and how people use it, this portmanteau film is a comedic gem with humour to burn and excellent performances.

In Adelina, the first and longest segment, the eponymous character lives in Naples with her unemployed husband Carmine. To make ends meet in their poverty-stricken lives, she sells cigarettes on the black market. One day, she is caught doing this and is threatened with this. After consulting a lawyer, Adelina finds that according to Italian law, a women who is pregnant can’t be imprisoned as well as sixth months after giving birth. This sets in motion Adelina’s scheming, in order to avoid prison she will keep on having children. After seven children, Carmine is exhausted and Adelina must face the possibility of going to prison for her crimes or having a child with her husband’s best friend Pasquale. In the middle segment Anna, a wealthy businessman’s wife is having an affair with Renzo. Whilst her husband is away, she goes for a drive with Renzo in her Rolls Royce through Milan. Anna is selfish and seems devoid of feeling, this makes Renzo question whether she is the right women for him. His decision is further called into question when Anna nearly runs over a young boy, and shows hardly any remorse. And in the last and most sexy story Mara, a high-class prostitute living in Rome. She is well aware of her beauty and knows exactly how to play men. One of her most prominent clients is the neurotic but randy Augusto. In the apartment next door to Mara’s lives an old women, her husband and for a time Umberto, a young man studying for priesthood. The minute he meets the gorgeous Mara he falls for her and begins to question the vows he will take soon. This incurs the wrath of his Grandma, who reluctantly enlists Mara’s help in helping him make the right decision. Prepare for a troika of sexy, witty and well-executed stories boasting excellent chemistry between Loren and Mastroianni.

Vittorio De Sica takes a break from his serious dramas to show his gift for comedy, and directs with a natural ability with his actors of choice. Sophia Loren, surely one of the most beautiful women to grace the screen, is at her peak as three different characters wielding sexual power. She cleverly and naturally invests each character she portrays with a sexy, warm and comic flair and she is greatly supported by Marcello Mastroianni. Mastroianni exudes humour and his expressive face is utilized to great effect throughout the three tales. They are surrounded by many fine and eccentric characters, but it is their film all the way through. Like any portmanteau film, not every part is perfect. The second story is too short and we don’t really get to know the characters that well. The only really purpose of it is to act as an interlude between the other chapters, but it is too short to be interesting. Whereas, the other two stories are excellently played and keep you watching, Adelina being the highlight. Watching as she schemes to avoid prison in a new way and Mastroianni exhausted after seven children is comically scripted, especially when he is castigated by a row of black market women about his reluctance to have any more children. Mara, was the part of the film that garnered the most headlines, in part due to Sophia Loren’s striptease. It may seem tame by today’s standards, but it still is a very sexy highlight to a cheeky film. The other thing to praise except the wonderfully flinty chemistry and performances is the music, which gives the film a mischievous and playful quality.

The winner of the Best Foreign Language Film Oscar, Yesterday, Today and Tomorrow is a hysterically funny and realised trio of sexy comedy. Even if you don’t get the film or enjoy it, Sophia Loren and Marcello Mastroianni will most certainly grab the attention with their well-played performances and unbeatable chemistry.