Two Women

About the production

The film was based on the 1957 novel of the same name by Alberto Moravia. Sophia Loren was pregnant during filming, which required careful camera positioning and scheduling. The controversial rape scene was groundbreaking for its time, depicting the assault with psychological impact rather than explicit violence. The film was shot in both Italian and French versions, with some scenes reshot for the international release. The production faced challenges filming in authentic war-torn locations, as many areas had already been rebuilt.

Themes

Themes & topics

Historical background

Vittorio De Sica adapted Alberto Moravia's novel as Italy confronted the moral wreckage of World War II; the 1960 release arrived amid debates over neorealism's limits and the ethics of depicting wartime rape.

Why this film matters

Sophia Loren's Oscar-winning performance made Cesira an international symbol of civilian suffering; the film remains central to discussions of Italian postwar cinema and the representation of Allied occupation.

Making of

Director Vittorio De Sica, a master of Italian neorealism, chose to adapt Alberto Moravia's controversial novel despite its difficult subject matter. The casting of Sophia Loren as Cesira was initially met with skepticism, as she was primarily known for glamorous roles. However, De Sica saw beyond her image and guided her to deliver what many consider her finest performance. During filming, Loren drew on her own wartime experiences growing up in Pozzuoli near Naples, where she had witnessed similar hardships. The production faced numerous challenges, including finding authentic locations that still showed war damage, as much of Italy had been rebuilt. The controversial rape scene was filmed with extreme sensitivity, using shadows, sounds, and facial expressions rather than graphic imagery to convey the horror. Jean-Paul Belmondo, who had recently gained fame in 'Breathless,' worked extensively with a dialect coach to master the Italian dialogue. The film's cinematographer, Robert Krasker, used natural lighting whenever possible to maintain the neorealist aesthetic, while the musical score by Armando Trovajoli incorporated traditional Italian folk melodies to enhance the emotional impact.

What critics said

Contemporary Italian critics split over the film's melodramatic turn; foreign reviewers praised Loren while some domestic writers questioned Moravia's pessimism. Retrospective accounts emphasize its influence on later war dramas.

Did you know?

• Sophia Loren won the Academy Award for Best Actress, becoming the first actor to win an Oscar for a foreign-language performance
• Loren was only 25 years old when she portrayed the mother Cesira, though she was convincing as an older character
• The film was banned in Spain until 1977 due to its controversial content and depiction of wartime atrocities
• Jean-Paul Belmondo, who was already a rising star in France, learned Italian phonetically for his role
• The title refers to the Ciociaria region, and 'ciociara' means 'woman from Ciociaria' in the local dialect
• Alberto Moravia, author of the source novel, was married to Elsa Morante, another famous Italian writer
• The film's success helped launch Sophia Loren's international career, leading to her Hollywood contracts
• The controversial scene with Moroccan Goumier soldiers was based on real events that occurred during the Italian campaign
• De Sica cast his own son, Manuel De Sica, in a small role as a young shepherd
• The film was restored in 2014 by The Criterion Collection and Cineteca di Bologna

Awards & recognition

• Academy Award for Best Actress (Sophia Loren)
• BAFTA Award for Best Foreign Actress (Sophia Loren)
• David di Donatello for Best Actress (Sophia Loren)
• Golden Globe Award for Best Actress in a Motion Picture Drama (Sophia Loren)
• New York Film Critics Circle Award for Best Actress (Sophia Loren)
• Bodil Award for Best European Film
• Italian National Syndicate of Film Journalists Silver Ribbon for Best Actress (Sophia Loren)
• Mar del Plata Film Festival Best Actress (Sophia Loren)

Visual style

The film's cinematography, by Robert Krasker (an Oscar winner for 'The Third Man'), masterfully blended neorealist aesthetics with dramatic visual storytelling. Krasker employed natural lighting and authentic locations to maintain the documentary-like quality characteristic of Italian neorealism. The camera work emphasizes the contrast between the urban destruction of Rome and the rural beauty of the Ciociaria region, visually representing the characters' journey from civilization to refuge. The famous assault sequence is shot with remarkable restraint, using shadows, silhouettes, and close-ups of faces rather than explicit imagery to convey the horror. Krasker's use of deep focus allows for complex compositions that show characters within their environment, reinforcing the theme of individuals trapped by circumstances. The cinematography becomes increasingly intimate as the film progresses, with more close-ups of Cesira and Rosetta to emphasize their psychological journey. The visual style evolves from the broader social concerns of early neorealism to a more personal, psychological focus, reflecting the film's thematic emphasis on individual trauma.

Innovations

While not technically innovative in the way of science fiction or experimental films, 'Two Women' achieved significant technical accomplishments in its execution of neorealist principles. The film's sound recording was particularly noteworthy for its use of natural locations and ambient sounds, creating an authentic auditory environment that enhanced the realism. The production team successfully synchronized dialogue with challenging outdoor scenes, a technical feat given the era's recording limitations. The makeup and costume departments achieved remarkable results in aging Sophia Loren and transforming her glamorous image into that of a war-weary mother. The film's editing by Adriana Novelli created a rhythm that balanced the film's dramatic moments with quieter passages, allowing emotional beats to resonate. The production design by Gastone Rinaldi successfully recreated both war-torn Rome and rural Ciociaria, often using actual damaged locations rather than constructed sets. The film's successful blending of professional actors with non-professional locals in smaller roles maintained the neorealist aesthetic while ensuring strong performances.

Music

The musical score by Armando Trovajoli perfectly complements the film's emotional journey, incorporating traditional Italian folk melodies with dramatic orchestral arrangements. Trovajoli, who would become one of Italy's most prolific film composers, created a soundtrack that enhances the narrative without overwhelming it. The main theme, a melancholic melody that recurs throughout the film, represents Cesira's enduring love for her daughter and their shared suffering. The music is particularly effective in scenes of transition, marking the characters' movement from safety to danger and from hope to despair. Trovajoli incorporated authentic folk songs from the Ciociaria region, adding cultural specificity and authenticity to the rural sequences. The score is notably sparse during the film's most harrowing moments, allowing the natural sounds and performances to carry the emotional weight. The soundtrack was released as an album and remains one of Trovajoli's most celebrated works, frequently cited as an example of how film music can enhance narrative without dominating it.

Famous quotes

Cesira: 'In war, you can only die once. In peace, you can die a thousand times.'

Cesira: 'We were two women. We wanted to live. We wanted to love. We wanted to be happy.'

Michele: 'Even in the darkest times, there are moments of light.'

Cesira: 'War doesn't make men, it makes monsters.'

Cesira: 'My daughter, my poor daughter... what have they done to you?'

Memorable scenes

• The bombing of Rome sequence where Cesira and Rosetta flee their apartment building, capturing the chaos and terror of civilian evacuation
• The pastoral scenes in Ciociaria showing temporary peace and Cesira's budding romance with Michele, providing emotional contrast to the surrounding violence
• The brutal assault scene in the church, filmed with remarkable restraint using shadows and sound to convey horror without explicit imagery
• The final scene where Cesira discovers Rosetta has taken another woman's stockings, revealing her daughter's psychological trauma and moral confusion
• The heartbreaking moment when Cesira realizes Rosetta is no longer the innocent child she once was, symbolizing the loss of an entire generation's innocence

What audiences thought

Audiences responded powerfully to 'Two Women,' particularly in Italy where the film resonated with viewers who had lived through the war. The film's emotional intensity and Loren's performance created a deep connection with viewers, leading to strong word-of-mouth and box office success. International audiences, especially in the United States, were moved by the universal themes of maternal love and survival in wartime. The film's controversial content sparked discussions about the depiction of sexual violence in cinema, but most viewers appreciated its artistic treatment of difficult subject matter. Sophia Loren's Oscar win significantly boosted the film's profile and attracted audiences who might not typically seek out foreign films. The movie's success established Loren as an international star and led to increased interest in Italian cinema worldwide. Over the years, the film has maintained its emotional impact on new generations of viewers, with many considering it especially powerful war films ever made. The film's availability through home video and streaming services has allowed it to continue finding audiences who appreciate its artistic merit and emotional depth.

Film connections

Influenced by

• Italian neorealist movement (particularly 'Bicycle Thieves' and 'Shoeshine')
• Alberto Moravia's literary realism
• Post-war European cinema's focus on civilian experiences
• Classical Greek tragedy themes of fate and suffering
• French poetic realism's visual style

This film influenced

• The Night Porter (1974)
• Sophie's Choice (1982)
• Come and See (1985)
• The Piano Teacher (2001)
• The Stoning of Soraya M. (2008)
• Mustang (2015)

Film restoration

The film has been well-preserved and restored multiple times. In 2014, The Criterion Collection collaborated with Cineteca di Bologna to create a comprehensive 4K digital restoration from original camera negatives. The restored version premiered at the Cannes Film Festival and has been made available for both theatrical and home viewing. The Italian National Film Archive holds preservation materials, and the film exists in both its original Italian version and the slightly longer international cut. The restoration work addressed color fading, audio degradation, and physical damage to the original elements, ensuring the film's continued availability for future generations.

Where to watch

• The Criterion Channel (streaming)
• Amazon Prime Video (for rent/purchase)
• Apple TV/iTunes (for rent/purchase)
• Google Play Movies (for rent/purchase)
• YouTube Movies (for rent/purchase)
• The Criterion Collection Blu-ray/DVD
• Various library streaming services including Kanopy
• MUBI (periodic availability)