I bought 10 Sophia Loren movies from the 1950's that I could not find any where else. It's not one of his best films, but it certainly belongs to his most interesting.0 of 0 people found the following review helpful:
There is no sweet and lovely Italian music here but the bleak and depressive wailing disharmonies of Shostakovich instead, which actually provide an appropriate mood and accompaniment to this very morose film. He alternated his serious films with comedies and loved to act himself in comedies, he was more active as an actor and comedian than as a director, but his serious films remain his masterpieces. Vittorio de Sica made this film two years after "Two Women", and it's in the same vein - relentless realism brought to overwhelming pathos and tragedy. Franz (Maximilian Schell) ultimately refuses to accept that Germany is flourishing again, that it is rising to new power and prosperity and clinches to his experience of a defeated nation all in ruins with its people resorting to underground beggary and scavenging, as if the reality of its ruin was of greater comfort to him than any news of its prosperity. He has another son (Sophia Loren's husband, Robert Wagner,) who is willing to accept to take over, but his elder brother looms as the bearer of an ominous destiny of the family. The main character Franz has never left the war behind, while his father, a great industrialist tycoon, has received his own death sentence by a cancer diagnosis and faces the problem and necessity of allowing his life's work a continuity. The main interest of the play is that it's a Frenchman's assessment of the post-war German situation with acute observations, conclusions and profound considerations. I always regarded "The Prisoners of Altona" as Sartre's most interesting and perhaps best play, but I did not know that Vittorio de Sica had made a film on it and with Sophia Loren and other great actors, Cesare Zavattini having even somewhat added to the play.
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