Terminal Station

Indiscretion of an American Wife or Stazione Termini 1953 is set at a station where an ill-fated couple : Jennifer Jones , Montgomery Clft say goodbye endessly while the women attempts to decide whether to join her husband and daughter in the States . This longing...this yearning...this warning...

An attractive and enjoyable movie from a script by Truman Capote from the story " Terminal Station" by Cesare Zavattini that also collaborated in the screenplay , it never puts a foot wrong , neither do the actors , as the agony of their frustrated feelings etched on their faces for all to see . Dealing with a touchingly understated love story develoved at a station , about a romance they know has not future . Including the charming final scenes that are particularly poignant and stirring . Being well photographed , especially in the railway scenes , though a perfect remastering being really necessary because of the film copy is worn-out . The two main actors are pretty well . And deft supporting cast as a very young Richard Beymer and Gino Cervi as a Police Commissioner.

The motion picture was well directed by Vittorio De Sica , though it contains some flaws and gaps due to it was heavily cut , in fact was trimmed down from 87 minutes upon US release . De Sica was one of the most notorious actors/filmmakers of the Italian cinema and a maestro of the Neorealism style , as he directed prestigious movies : "The Bicycle Thief , Miracle in Milan, Shoeshine , The Children are watching , The Gold of Naples , Umberto D , The Roof , It Happened in the Park , Two Women, Yesterday Today and tomorrow , Marriage Italian style , After the Fox , Woman Times Seven, The Garden of the Finzi Continis" . Rating : 6.5/10 , decent romantic drama . The flick will appeal to Montgomery and Jennifer Jones fans .

Like fine wine, "Stazione Termini" seems to grow better and better with age.

Generally "written off" as a lesser De Sica work, this film offers two beautiful performances by Jennifer Jones and Montgomery Clift.

The two, with different types of acting training, sensitively mesh their discrete styles through deeply felt emotions. Highly gifted, vulnerable, and insecure, these top performers reach for the bottom of their feelings in bringing to life two desperate, lonely lovers.

It's been said these thespians enjoyed a close off-screen relationship due to the leading lady's deep infatuation with her co-star, and that she was distraught when he, due to personal circumstances, was unable to mutually respond.

That's not at all surprising, for it's all there in their work in this drama. A deft melding of romance and neo-realism, which marks the distinctive De Sica style, "Stazione" now seems just the right length for its content.

It almost seems to unfold in "quasi-real time," with shots of clocks ticking away before the train leaves at the story's finale to emphasize the time element.

What emerges here is a kind of slice-of-life vignette: two people in love, who must part due to one partner's domestic responsibility. We are allowed to briefly share their intimate, final moments together before their inevitable parting.

Zavattini's script (along with Truman Capote and Ben Hecht's dialogue) nicely capture these fleeting minutes, while the score lushly points up the pathos of a tragic unfoldment. De Sica's unique direction (with Selznick's uncredited contribution) rounds out a small gem of a film whose vintage grows increasingly more sweet and more special with age.

Indiscretion of an American Wife (1953)

This is such a contained, focused film, and demands so much of its two actors, every little nuance matters in a kind of exciting dramatic way. The closest thing this compares to, as two lovers or would be lovers talk in a train station, is Brief Encounter (1945), and that's a masterpiece of acting and cinema both.

Here, with Montgomery Clift and Jennifer Jones, it comes close. I found the slowness of it magical, and the filming, in the ultra modern station, very beautiful. If director Vittoria De Sica clearly has a different style than David Lean (though both pile on the romanticism), the effect is still one of longing and loneliness. The weakness here, most of all, is simply the writing, which is so important when two people are sitting around in conversation most of the time.

Oddly, and sadly, it was the producer (Selznick) who got in the way. He was married to Jones at the time, and she was unhappy both during the filming and in her marriage. She also seems to be overacting sometimes--she can be marvelous, and nuance magnified might be exactly what was needed, but it often seems distracting. Clift, for his part, liked De Sica and he did what he could with what he had to work with under the director. It was Selznick who interfered with De Sica, and who altered the script using a series of screenwriters, and even though Truman Capote was one of them, the whole thing was hampered.

The fact it is still a marvelous film is something to wonder at. Flawed, yes, but short and intense and it has a special feeling that Hollywood (and British counterparts) were unable to pull off. The whole atmosphere and mood are enough alone to make it worthwhile.

I saw the short version, and I think it's probably plenty, but if you find the original, with 20 minutes extra, and you like this one, give it a try.

Cesare Zavattini's slim story "Terminal Station" turned into somewhat-overblown star-vehicle for Jennifer Jones and Montgomery Clift, who manage to create romantic tension despite director Vittorio De Sica's insistence upon an overly-busy background. These indiscreet lovers (she a married housewife from Philadelphia and he the half-Italian professor who adores her) are consistently spied upon by accusing eyes while saying their reluctant farewells in Rome's railway station. De Sica appears to be just as interested in the central couple as he is in the woman's young nephew (Dick Beymer) who simply refuses to leave, happy party groups, another group of serious-faced priests, an elderly Italian and his apples, a pregnant woman, the overachievers on the police force, etc. Told in 'real time', the looming faces of the many clocks (reminding our couple of her impending trip home) become a red herring in the proceedings, which do have intriguing moments in spite of the fact Clift shows no signs of Italian blood (he barely seems to comprehend the language!). Jones, in a tidy Jane Wyman-ish hairdo, ably manages to convey the torn emotions of a woman with a family who has found passion at last, and her performances is certainly worth-seeing. Clift makes a fantastically dramatic exit from a moving train, but otherwise just fills the bill. David O. Selznick production has the requisite gloss, but could have used a bit more fire under its icy exterior. **1/2 from ****

This film is full of ironical metaphors. We have a running Joseph and Mary / Adam and Eve biblical subtext. The surface sentimentality can be misleading. Rome Termini Station contains enough iconography of Heaven and Hell to make up an ironic parable. I'm surprised that so many critics have not picked up the clever gags. I suspect that the butchering of the film down to 63 minutes has something to do with it. The serpent and the apple, seeking refuge in the manger, Dante's innocent descending into the purgatory of the police station, two passionate innocents caught up in orthodox role structure, it's all there, if rather clumsily re-edited. The film clearly belongs to an era where film language a la Welles or Hitchcock was more sophisticated than much of today's mainstream cinema.