Sophia. Is a last name necessary? Any thoughts on the following films, which will be shown this month?
June 4th
Too Bad She's Bad
Yesterday, Today, and Tomorrow
It Started in Naples
The Millionairess
Lady L
More Than a Miracle
Ghosts, Italian Style
June 11th
The Key
That Kind of Woman
Two Women
Operation Crossbow
Brass Target
June 18th
Desire Under the Elms
The Black Orchid
A Breath of Scandal
Five Miles to Midnight
The Pride and the Passion
Legend of the Lost
June 24th
Boy On a Dolphin
The Fall of the Roman Empire
The Cassandra Crossing
Heller In Pink Tights
Man of La Mancha
I'm looking forward to seeing
Yesterday, Today and Tomorrow,
Black Orchid and Heller in Pink Tights again.
If you'd like to see two of the most beautiful looking
people ever on film in a charmingly rustic and fey
Italian fairy tale, I'd recommend More Than a Miracle
aka C'era una Volta (1967). Both Sophia Loren
and Omar Sharif were never more striking.
As usual, when dressed in rags, Sophia looks more regally
beautiful than she ever does when chicly garbed in designer
duds. Pasqualino De Santis, the cinematographer of the film,
should've gotten an Oscar for the look of this film.
Sophia Loren This Month
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moira finnie
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Mr. O'Brady
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Over the years, I think I've seen all but "Too Bad She's Bad", "Yesterday, Today, and Tomorrow", and "A Breath of Scandal". I haven't watched most of them in many years, though. I'm really looking forward to "Heller in Pink Tights" for the obvious reason that it co-starred Miss O'Brien. I think I saw it as a teenager, but can't remember much. I have read that Cukor was really unhappy with it.
Growing up, I adored Loren for her beauty, but over the years, my preference has turned toward plainer actresses. Now that I can watch her with an unbiased eye, I realize that she was a truly incredible performer. It will be nice to revisit many of these films. My favorite of the bunch: "Two Women", though it can be difficult to watch.
Growing up, I adored Loren for her beauty, but over the years, my preference has turned toward plainer actresses. Now that I can watch her with an unbiased eye, I realize that she was a truly incredible performer. It will be nice to revisit many of these films. My favorite of the bunch: "Two Women", though it can be difficult to watch.
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jdb1
Someone a while back mentioned not liking her very much, and here's a chance to see what she was all about. I think one can observe a definite progress in her body of work, from not particularly good, to "star," to "actress." Personally, I think she's wonderful, and she makes any movie worth looking at, no matter how bad it is.
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moira finnie
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Hi Mr. O'B.,
I find Two Women very difficult to watch too. Yet, as I've matured, my appreciation for the depth of feeling and experiences conveyed by Loren and Eleonora Brown as her daughter is much greater. It's an unforgettable anti-war film with a well-deserved Oscar going to Sophia.
And, if you'll forgive me a moment of girlishness, any movie featuring Raf Vallone, even if it is only for a moment, is worthwhile. Wish that TCM would show his early work opposite Silvana Mangano in Anna (1951) and Simone Signoret in Thérèse Raquin (1953). A good actor, probably best remembered for his role in Arthur Miller's A View From the Bridge (1961) & El Cid (1961), he did not seem to translate as well into American movies.
I find Two Women very difficult to watch too. Yet, as I've matured, my appreciation for the depth of feeling and experiences conveyed by Loren and Eleonora Brown as her daughter is much greater. It's an unforgettable anti-war film with a well-deserved Oscar going to Sophia.
And, if you'll forgive me a moment of girlishness, any movie featuring Raf Vallone, even if it is only for a moment, is worthwhile. Wish that TCM would show his early work opposite Silvana Mangano in Anna (1951) and Simone Signoret in Thérèse Raquin (1953). A good actor, probably best remembered for his role in Arthur Miller's A View From the Bridge (1961) & El Cid (1961), he did not seem to translate as well into American movies.
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moira finnie
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Hi Stuart,
From what I've read in the past, much of that "affair" between Loren-Sellers during the making of The Millionairess (1960) may have been largely a figment of Peter Sellers' fevered imagination, (maybe a bit like the one that Sinatra hoped for during the filming of The Pride and the Passion, which was not going to happen with Cary Grant in the picture & Carlo Ponti in the offing). She seems to have had that understandably devastating effect on the boys' imaginations.
From what I've read in the past, much of that "affair" between Loren-Sellers during the making of The Millionairess (1960) may have been largely a figment of Peter Sellers' fevered imagination, (maybe a bit like the one that Sinatra hoped for during the filming of The Pride and the Passion, which was not going to happen with Cary Grant in the picture & Carlo Ponti in the offing). She seems to have had that understandably devastating effect on the boys' imaginations.
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Ann Harding
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It looks as if this cycle centers around her English-speaking movies. I think it's a shame because her best IMO are in Italian movies. Nevertheless, in here there are a few Italians like:
Peccato che sia una canaglia (To Bad, she's bad, 1954) with both De Sica and Marcello Mastroianni.
Ieri, oggi, domani (1963) with Marcello again.
But why didn't they include some of their best partnership like:
La Moglie del prete (The Priest's wife, 1971) D. Risi. I saw it years ago and still remember how I laughed at Marcello (the priest in long robe) meeting her in a very short skirt!!!
You can trust the Italian to mock the clergy. 
Actually the end of the film was rather bitter-sweet for a comedy.
Matrimonio all'italiana (Marriage Italian Style, 1964) V. De Sica. Marcello plays again (like in Divorce Italian style) a very macho aristocrat who exploits poor Sophia at home without ever marrying her....
Una Giornata Particolare (A special day, 1977) E. Schola. This film is a drama taking place in fascist Italy in the 30s. Marcello is an outcast, being homosexual while she is a downtroden housewife. A very moving picture.
As for her alone, one of her best role in La Ciocciara (1960) V. de Sica where she gives a fantastic performance.
I have seen recently The Key, a Carol Reed picture, certainly not among his best, but what a cast: William Holden and Trevor Howard.
Peccato che sia una canaglia (To Bad, she's bad, 1954) with both De Sica and Marcello Mastroianni.
Ieri, oggi, domani (1963) with Marcello again.
But why didn't they include some of their best partnership like:
La Moglie del prete (The Priest's wife, 1971) D. Risi. I saw it years ago and still remember how I laughed at Marcello (the priest in long robe) meeting her in a very short skirt!!!
You can trust the Italian to mock the clergy. Actually the end of the film was rather bitter-sweet for a comedy.Matrimonio all'italiana (Marriage Italian Style, 1964) V. De Sica. Marcello plays again (like in Divorce Italian style) a very macho aristocrat who exploits poor Sophia at home without ever marrying her....
Una Giornata Particolare (A special day, 1977) E. Schola. This film is a drama taking place in fascist Italy in the 30s. Marcello is an outcast, being homosexual while she is a downtroden housewife. A very moving picture.
As for her alone, one of her best role in La Ciocciara (1960) V. de Sica where she gives a fantastic performance.
I have seen recently The Key, a Carol Reed picture, certainly not among his best, but what a cast: William Holden and Trevor Howard.
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moira finnie
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Ann,
I certainly agree that more of the Italian films of the Loren-Mastroianni partnership should have been included, especially the two that you mentioned, Matrimonio all'italiana (Marriage Italian Style, 1964) and Una Giornata Particolare (A Special Day, 1977), both of which I loved. In Marriage Italian Style, which is very funny and occasionally sad, there is one memorable scene after it seems that Sophia's efforts to snag the bum (Marcello) she loves have failed. We see her in a rather dowdy polka dot dress walking dejectedly down the street after her legal claim has been rebuffed by her lover's lawyer. She gazes at her own bedraggled reflection in a shop window without a word. She is devastating in that quiet moment with a lifetime of pain in her face and posture.
Marriage Italian Style has been shown on TCM in the past, though perhaps it is no longer available for lease, (since TCM does not own any of its movies now).
A Special Day was very interesting because it gave the actors a chance to play against type. Set in fascist Italy in the '30s, Loren is playing one of her plainest (and not overly bright) characters. As she comes to know and feel compassion for Mastroianni's gay character her portrait of this limited woman becomes much more nuanced as both of them learn to respect and care for one another. This film, as I recall, took a terrible drubbing from the critics when it was released. Unlike many of the rather violent, bombastic movies then in fashion, it may have been too quiet and out of key with the strident '70s. Maybe it deserves another chance to find an audience. Actors like these two don't come along everyday. I'd love to see it again.
I certainly agree that more of the Italian films of the Loren-Mastroianni partnership should have been included, especially the two that you mentioned, Matrimonio all'italiana (Marriage Italian Style, 1964) and Una Giornata Particolare (A Special Day, 1977), both of which I loved. In Marriage Italian Style, which is very funny and occasionally sad, there is one memorable scene after it seems that Sophia's efforts to snag the bum (Marcello) she loves have failed. We see her in a rather dowdy polka dot dress walking dejectedly down the street after her legal claim has been rebuffed by her lover's lawyer. She gazes at her own bedraggled reflection in a shop window without a word. She is devastating in that quiet moment with a lifetime of pain in her face and posture.
Marriage Italian Style has been shown on TCM in the past, though perhaps it is no longer available for lease, (since TCM does not own any of its movies now).
A Special Day was very interesting because it gave the actors a chance to play against type. Set in fascist Italy in the '30s, Loren is playing one of her plainest (and not overly bright) characters. As she comes to know and feel compassion for Mastroianni's gay character her portrait of this limited woman becomes much more nuanced as both of them learn to respect and care for one another. This film, as I recall, took a terrible drubbing from the critics when it was released. Unlike many of the rather violent, bombastic movies then in fashion, it may have been too quiet and out of key with the strident '70s. Maybe it deserves another chance to find an audience. Actors like these two don't come along everyday. I'd love to see it again.
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moira finnie
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moira finnie
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Sophia Loren with De Sica in the '50s.
I've never seen Too Bad She's Bad (1954) on tonight at 8pm to kick off the Sophia in June festival. I see it's based on an Alberto Moravia story--the tales he told usually fit Loren like a glove. I love Vittorio De Sica as an actor and director, (though this one is directed by Alessandro Blasetti), so I think that this might be good, especially since it features Marcello Mastroianni as well. Does anyone else know much about it or have an opinion?
I also can't wait to see Yesterday, Today, and Tomorrow (1963), (which was directed by De Sica) again. It must've been 20 years since I first caught this delightful comedy. Btw, if there are any adolescent boys watching this movie at 9:45pm tonight, be prepared for some voices to change during this broadcast.
Loren & Mastroianni make a memorable screen team.
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Mr. O'Brady
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I loved "Too Bad She's Bad", but was a bit surprised to see the blonde hair. A very cute and funny film, I thought De Sica really stole the show, but Loren and Mastroianni were good as well. I dozed off during the first minutes of "Yesterday, Today, and Tomorrow", proving as always that I'm too old to watch a double feature. 
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jdb1
A really cute film, which I enjoyed. What struck me especially was how very good Loren was, compared to what she was doing in American films at that time, and I realize now that it was probably the language factor that played a part in her woodeness in so many of the Hollywood films she did early on. Also - in most of her very early Hollywood ventures she was presented as some sort of décolletée monument - overdressed (or maybe underdressed), over made up, shot at some very unflattering angles.
In Too Bad She's Bad, Loren wore contemporary clothing, and moved and talked like a normal person. If she photographed looking like something a bit larger than life, that's because she is. She's a big, healty-looking woman, and has no problem with that, so why should we?
(My very favorite part of the movie - the Nonna (grandma) lifting Mastroianni's wallet.)
In Too Bad She's Bad, Loren wore contemporary clothing, and moved and talked like a normal person. If she photographed looking like something a bit larger than life, that's because she is. She's a big, healty-looking woman, and has no problem with that, so why should we?
(My very favorite part of the movie - the Nonna (grandma) lifting Mastroianni's wallet.)