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8 user 21 critic

Adua e le compagne (1960)

When a brothel closes because of new laws, four of the prostitutes decide to go into business running a restaurant. They discover they cannot escape their past.

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(screenplay), (story) | 5 more credits »
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Cast

Cast overview:
...
...
...
Marilina (as Emmanuele Riva)
Gina Rovere ...
...
Ercoli
Ivo Garrani ...
L'Avvocato - Adua's ex-customer
Gianrico Tedeschi ...
Stefano
Antonio Rais ...
Emilio
Duilio D'Amore ...
Brother Michele
Valeria Fabrizi ...
Fosca (as Valeria Fabrizzi)
Luciana Gilli ...
Dora - Piero's lover (as Gloria Gilli)
Enzo Maggio ...
Calypso - Stefano's colleague
Roberto Meloni ...
(as Roberto Melone)
Nando Angelini ...
(credit only)
...
Piero Salvagni
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Storyline

When a brothel closes because of new laws, four of the prostitutes decide to go into business running a restaurant. They discover they cannot escape their past.

Plot Summary | Add Synopsis

Taglines:

Together for the First Time The Stars of "Room at the Top", "Divorce Italian Style", Hiroshima Mon Amour" "8 1/2" and "Yesterday, Today and Tomorrow"!

Genres:

Comedy | Drama

Certificate:

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Details

Country:

Language:

Release Date:

13 January 1961 (West Germany)  »

Also Known As:

Adua and Her Friends  »

Company Credits

Production Co:

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Technical Specs

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Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

This is the first time in her career that Sandra Milo dubs herself in a movie. Previously she had been dubbed by other actresses such as Rosetta Calavetta and Lydia Simoneschi. See more »

Connections

Featured in Cinema forever - Capolavori salvati (2001) See more »

Soundtracks

Sleepwalk
Music by Santo Farina (as Farina), Johnny Farina (as Farina), Ann Farina (as Farina)
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User Reviews

 
a diverting Italian romp carrying a scorching message
23 February 2016 | by (China) – See all my reviews

Italian screenwriter-director Antonio Pietrangeli died young at the age of 49, during a drowning accident while shooting COME, QUANDO, PERCHÉ (1969), and ADUA AND HER FRIENDS, perhaps is his most distinguished work treads the post-Neorealism soil with a broad comic vibe.

Adua (Signoret) and her three friends, more specifically, her workmates, Lolita (Milo), Marilina (Riva) and Milly (Rovere) are prostitutes, who are out of work due to the Merlin law, which made brothels illegal in Italy in 1958, together, they invest all their savings to open a trattoria in the suburbs of Rome, hope to start a new business and leave their dishonourable past behind, but a second chance seems to be a dashed dream for people like them. The restaurant business is thriving, at one time, their customer even includes the famed cantautore Domencico Modugno, but soon the reality check will catch up with these girls, a bleak coda shows that the society is not ready to welcome them back with warm arms.

The synopsis sounds rather despondent, but the movie is beguilingly infused with a boisterous commedia dell'arte sheen. The quartet itself doesn't hold together in the first place, Lolita is a hackneyed bimbo, gullible and care-free , who foolhardily believes in her swindling beau Stefano (Tedeschi); Marilina is the cynical one made up with plenty of bile and has an unbaptised son to care about; Milly, is an unassuming hard-worker, who is really close to a happy marriage with their one of their frequenters Emilio (Rais); finally Adua, the oldest and wisest among them, has a worldly perception but her ill-fated romance with a smooth-talking Italian Romeo Piero (Mastroianni, in his usual dashing and flirtatious flair) can only spell happiness is nothing but a dashed dream for her, Signoret again cement the scenes where superficial comedy head-butts with harsh realism.

Pietrangeli never shifts his sympathy towards these women of ill repute in his vigorous portrayal, even for Marilina (Riva is equipped with searing fierceness here), whose wanton behaviour initially occasions a fervent sense of objectionableness, but her hard edge begins to mellow once her son is back in her life. They are far from perfect, but at least, they try very hard to be self-sufficient, which is in sheer comparison with all the men in their lives, are either ignoble self-seekers, callous brutes or dreadful cowards, save for the layman priest (D'Amore). The condemnation is sublimated in the ending, where although only Adua is present, but if she is at her wits' end, it is not difficult to imagine what happens to the other three. On balance, the film is a diverting romp carrying a scorching message, deserves the attention of hardcore cinephiles.


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