Vittorio De Sica’s Two Women contains various techniques which makes it one of the great films from the Italian Neo-Realism era. Set during the allied bombing in Rome, the film tells the story of Cesira (Sophia Loren), a beautiful widowed woman, and her religious and innocent 12 year old daughter, Rosetta (Eleanora Brown). The story follows Cesira and Rosetta’s tumultuous journey to and from Rome. Following the trend of other Italian Neo-Realism films by De Sica (such as Bicycle Thieves), Two Women explores the effect World War II has had on the basic human condition. The viewer comes to understand the effect on people’s most basic wants and needs such as shelter, food, and money. But what makes Two Women stand out among other films, is that it shows the effect war has on one of the most primeval of human needs; and this is the lust for love and sex. Two Women caused a bit of a stir when it released because of its brief nudity, suggestive camera shots, and rape scene. However, Two Women received an Academy Award (for Best Actress- Sophia Loren) and recognition elsewhere, because it is simply real. Regardless of the difficult times around them, people still have sexual and romantic desires, and some of them act on these impulses-whether they are welcomed or not.
The character of Cesira is particularly interesting because of her fire and passion for survival. We notice Cesira’s passion even more as she interacts with Michele (Jean-Paul Belmondo). When Cesira and Rosetta eventually make it to a small compound of refugees in the hills, they encounter and befriend Michele who is a student who sympathizes with Communism and other ideologies. Michele can’t seem to comprehend Cesira’s ‘obsession’ with supplies and survival. In one particular scene in the film, Michele reads passages of The Bible to the refugees. Rosetta is mesmerized by his reading of Holy Scripture. However the other refugees, and especially Cesira continuously interrupt him. He’s interrupted by a man delivering supplies who just barges in to make his deliveries. He’s interrupted by other refugees who are late. And lastly, he’s interrupted by Cisara’s rant about the possible bombing of her house in Rome. At this point in the scene, Michele is fed up with the interruptions. He tells the refugees they aren’t worth hearing the stories and they are better off dead. He storms off. Rosetta instantly defends Michele, accusing her mother of causing the outburst and Cesira goes after him. Cesira meets up with Michele, alone in a field and it’s in this scene that the viewer comes to understand the stark differences between these two characters, and thus the
difference of feelings and priorities amongst Italians during this time.
Cisera represents the common people of Italy during this time. She is not rich, only a poor, simple widow (with beautiful features and outrageous sex appeal) trying to fend for and protect her daughter. Her first priority is food, shelter, and the preservation of Rosetta’s innocence. That is all. Michele, on the other hand wishes more refugees would stop hiding out and fight for what’s right (in his opinion: Communism), and stop fattening up like pigs while others die. Even though Michele and Cisera are two completely different people in terms of what’s most important, they learn something from each other; and that is basic human romantic and sexual desire.
Regardless of Michele’s vehement ideologies and theories, he admires Cisera for being so open about the things important to her. He mentions that he wishes he could be more like her in that respect. On the other hand, Michele inquires about Cisera’s love of life and if she’s ever loved before. After being reminded of that part of life, Cisera seems to develop a fondness of Michele- and so does her daughter, Rosetta. Cisera and Michele’s fondness of each other semi-blossoms into a glimmer of a romantic relationship. They end up kissing in a field during a bombing attack. Their being so oblivious during a dangerous scenario like this shows how much they are in need of passion- just as much as Cisera is in need of flour for bread. Additionally, an elderly couple catches them kissing in the bomb laden field and they carefully move away not to disturb them. The elderly couple seems to understand and sympathize with their need of passion even in a moment like this. Michele’s helping Cisera with her flour shows that he understands her need for it and has come to understand her point of view.
De Sica’s Two Women is a great portrayal of many ordinary citizens in Italy during this time. However, the film doesn’t just dote on romantic feelings and politics alone. The last portion of Two Women show just how ravaging and terrible wartime can be. After traveling to get back to Rome, Cisera and Rosetta are cornered in an abandoned church and raped by a group of Arabian Allies. Rosetta’s innocence is taken from her in the most malicious way, and there’s nothing Cisera can do about it. It’s at this point in the film that both Rosetta and Cisera become ‘two women’. Rosetta begins to act out because of what happens to her. She even sleeps with a stranger in exchange for a pair of women’s stockings. Eventually Rosetta and Cisera reconcile over the news of Michele’s death. What happens to Rosetta and Cisera in this film shows us that war affects everyone. Poverty, uncontrollable lust, and hunger affect everyone as well, even the most innocent. Vittorio De Sica’s Two Women is not only a great film from the Italian Neo-Realism period because of its classic story surrounding by theme, but because it dares to show the good bad and the ugly side of this time period in European history.
Sources:
“Vittorio De Sica- Neo-Realism, Melodrama, Fantasy”
http://hcl.harvard.edu/hfa/films/2010aprjun/de_sica.html
“Two Women (1960)
http://movies.nytimes.com/movie/51437/Two-Women/overview
The character of Cesira is particularly interesting because of her fire and passion for survival. We notice Cesira’s passion even more as she interacts with Michele (Jean-Paul Belmondo). When Cesira and Rosetta eventually make it to a small compound of refugees in the hills, they encounter and befriend Michele who is a student who sympathizes with Communism and other ideologies. Michele can’t seem to comprehend Cesira’s ‘obsession’ with supplies and survival. In one particular scene in the film, Michele reads passages of The Bible to the refugees. Rosetta is mesmerized by his reading of Holy Scripture. However the other refugees, and especially Cesira continuously interrupt him. He’s interrupted by a man delivering supplies who just barges in to make his deliveries. He’s interrupted by other refugees who are late. And lastly, he’s interrupted by Cisara’s rant about the possible bombing of her house in Rome. At this point in the scene, Michele is fed up with the interruptions. He tells the refugees they aren’t worth hearing the stories and they are better off dead. He storms off. Rosetta instantly defends Michele, accusing her mother of causing the outburst and Cesira goes after him. Cesira meets up with Michele, alone in a field and it’s in this scene that the viewer comes to understand the stark differences between these two characters, and thus the
difference of feelings and priorities amongst Italians during this time.Cisera represents the common people of Italy during this time. She is not rich, only a poor, simple widow (with beautiful features and outrageous sex appeal) trying to fend for and protect her daughter. Her first priority is food, shelter, and the preservation of Rosetta’s innocence. That is all. Michele, on the other hand wishes more refugees would stop hiding out and fight for what’s right (in his opinion: Communism), and stop fattening up like pigs while others die. Even though Michele and Cisera are two completely different people in terms of what’s most important, they learn something from each other; and that is basic human romantic and sexual desire.
Regardless of Michele’s vehement ideologies and theories, he admires Cisera for being so open about the things important to her. He mentions that he wishes he could be more like her in that respect. On the other hand, Michele inquires about Cisera’s love of life and if she’s ever loved before. After being reminded of that part of life, Cisera seems to develop a fondness of Michele- and so does her daughter, Rosetta. Cisera and Michele’s fondness of each other semi-blossoms into a glimmer of a romantic relationship. They end up kissing in a field during a bombing attack. Their being so oblivious during a dangerous scenario like this shows how much they are in need of passion- just as much as Cisera is in need of flour for bread. Additionally, an elderly couple catches them kissing in the bomb laden field and they carefully move away not to disturb them. The elderly couple seems to understand and sympathize with their need of passion even in a moment like this. Michele’s helping Cisera with her flour shows that he understands her need for it and has come to understand her point of view.
De Sica’s Two Women is a great portrayal of many ordinary citizens in Italy during this time. However, the film doesn’t just dote on romantic feelings and politics alone. The last portion of Two Women show just how ravaging and terrible wartime can be. After traveling to get back to Rome, Cisera and Rosetta are cornered in an abandoned church and raped by a group of Arabian Allies. Rosetta’s innocence is taken from her in the most malicious way, and there’s nothing Cisera can do about it. It’s at this point in the film that both Rosetta and Cisera become ‘two women’. Rosetta begins to act out because of what happens to her. She even sleeps with a stranger in exchange for a pair of women’s stockings. Eventually Rosetta and Cisera reconcile over the news of Michele’s death. What happens to Rosetta and Cisera in this film shows us that war affects everyone. Poverty, uncontrollable lust, and hunger affect everyone as well, even the most innocent. Vittorio De Sica’s Two Women is not only a great film from the Italian Neo-Realism period because of its classic story surrounding by theme, but because it dares to show the good bad and the ugly side of this time period in European history.
Sources:
“Vittorio De Sica- Neo-Realism, Melodrama, Fantasy”
http://hcl.harvard.edu/hfa/films/2010aprjun/de_sica.html
“Two Women (1960)
http://movies.nytimes.com/movie/51437/Two-Women/overview
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