Two Women

For every country in the world, there are several actors and actresses from there deemed sex symbols by fans from all over the world. Spain has Penelope Cruz and Javier Bardem. France has Marion Cotillard. (And don't even get me started on the United Kingdom.)

This has also pertained to foreign film stars of cinema past. Alain Delon, Catherine Deneuve, Marcello Mastroianni...they were the most popular for both their looks and talent. Another is Sophia Loren, more noted for her curves and age-defying beauty. (Hard to believe she was seventy-five when she made Nine.) Fortunately she's also known for her abilities as an actress as well.

The best proof of Loren's talent is in the form of Vittorio De Sica's Two Women. Playing a woman struggling to survive World War II with her daughter, Loren showcases a nuanced ability that's quite common among most screen beauties. (Another good example is Marilyn Monroe.)

De Sica was essentially immortalized for his neorealism films like The Bicycle Thief and Shoeshine. Two Women shares many elements of those films, but it doesn't feel as emotionally invested as those two. Still, De Sica shows he knows what he's doing.

Two Women may not be the best foreign film but it's certainly a compelling one to watch. Just watching it makes it clear as to how Loren won the Oscar. If you can get a hold of a copy of this, be sure to watch it.

My Rating: ****1/2

Shoeshine

There are three eras in the world of film that are widely celebrated. There's the New Hollywood era, which introduced audiences to the likes of Scorsese, Coppola and Spielberg. The French New Wave got Godard, Truffaut and Chabrol recognized. The Italian neorealism era had filmgoers going, "Buongiorno!" to Fellini, Rossellini and Visconti.

Another prominent director of the latter era was Vittorio De Sica. His most famous work (and the most prolific film from that era) was The Bicycle Thief, a beautiful and devastating piece of art. Two years earlier, De Sica made Shoeshine, which is perhaps even more devastating than his magnum opus. Why? Its protagonists are children.

Giuseppe (Rinaldo Smordoni) and Pasquale (Franco Interlenghi) are very close friends and witnesses to poverty in war-era Italy. Soon they find themselves in police custody for a crime they had no involvement in. As they spend more time behind bars, their friendship slowly starts to crumble.

The fact that the main characters for Shoeshine are children gives the film a compelling perspective. Their innocence is projected in every scene in a nice, delicate balance rather than in overindulgence. Oh, if more directors did that task, that'd be super.

Shoeshine is just a very heartbreaking film. (If you don't believe me, just read Pauline Kael's thoughts on it.) Honestly, tissues might be needed throughout.

My Rating: *****

The Bicycle Thief

There's always those films that are dubbed essentials. Many times it's very clear as to why.

Like Vittorio De Sica's The Bicycle Thief (or Bicycle Thieves as it's sometimes called). It's frequently hailed as one of many films of the Italian neo-realism era. But how many have seen it? Not as much as those who've heard of it.

The film focuses on Antonio Ricci, a struggling working father. Antonio is played by Lamberto Maggiorani, a non-professional. It was De Sica's idea to cast people of the Italian working class in the main roles rather than actors. (This wouldn't have worked had De Sica went with the studio's recommendation of Cary Grant.) Upon seeing the film, I realized De Sica made a very smart decision.

The reason? The use of non-professionals added more depth to the film's mood. No one could possibly believe someone like Grant would have difficulty finding a steady job, let alone have troubles at home and with money. Someone like Maggiorani gives the film a desired believability. It just wouldn't have worked with an established star like Grant.

Previous foreign films I watched usually left me amazed. In regards with The Bicycle Thief, it left me both amazed and devastated. When he seeks out sympathy and support, all Antonio gets is contempt. Also, the wrecked look Antonio possesses throughout the film, especially when he loses his bicycle (and most definitely the ending), can just crush you emotionally.

My Rating: *****