Mi trovo a recensirlo diversi anni dopo averlo visto ed ancora mi sale il panico se penso all'impietosa scena nella quale prendono atto le selvagge marocchinate ai danni delle protagoniste da parte dei famelici goumiers. Tremo ancor di più nel ricordare lo strazio materno della protagonista nella scena che segue. De Sica firma un capolavoro bellico, forte quanto le sue protagoniste, crudo quanto la realtà.
ABSOLUTE masterpiece, absolute in the sense of all-encompassing, flawless, PERFECT. Sofia Loren's screen-presence... I am lost for words The film is Sofia Loren, as Sofia Loren is the film. Never ever have I experienced emotion in such an absolute way. Again, the word absolute... for lack of an appropriate vocabulary... La ciociara is everything a film could ever aspire to be. it is pure
A seemingly forgotten follow-up to De Sica's trilogy of neorealist landmarks, it's also easily the most communist film of the bunch as it critiques Italy's social class structure and how none of it changed after the war. My only issue is something personal. I've always had a hard time with films dealing with rape as I find it nearly impossible to judge if its implementation is respectful, successful or even necessary
With a knockout performance by Loren, De Sica's tale of Italian struggle in WW2 is a powerful film that portrays the beauty & the beast inside man that's heightened in wartime. Eventually the Marocchinate climax comes and you feel the anguish/confusion because of all that's come before. Even if De Sica & Loren are mostly rom-coms, this is their best work together.
I don't remember much of the specifics of this film, but I remember I enjoyed it. It was the first film with Sophia Loren that I watched and one of the first foreign pictures. I knew that Loren was generally considered a sex symbol, so I was impressed by the ravaged emotion she portrayed. De Sica continues to show the realism and tragedy of war.
An outstandingly beautiful film that creates a moving connection between the viewer and the cast/the story: you could almost 'touch' their true state of mind and Belmondo sincerely leaves a powerful impression as much as the already-praised duo: Sophia/Eleonora.
Un po' superficiale, rispetto a ciò che si attende. Confezionato chiaramente per sbancare a Hollywood. Il neorealismo davvero era morto dieci anni e passa anni prima, così il produttore (Ponti) confeziona un simil-Roma città aperta per consacrare una Loren simil-Magnani , ma anche le scene più forti si rivelano pesanti ed urlate. Sbagliata la scelta di Belmondo burino di Sant'Eufemia. Brava la ragazzina.