IMDb > Journey to Italy (1954)
Viaggio in Italia
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Journey to Italy (1954) More at IMDbPro »Viaggio in Italia (original title)

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Overview

User Rating:
7.5/10   3,683 votes »
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Down 53% in popularity this week. See why on IMDbPro.
Director:
Writers:
Vitaliano Brancati (story) and
Roberto Rossellini (story) ...
(more)
Contact:
View company contact information for Journey to Italy on IMDbPro.
Release Date:
7 September 1954 (Italy) See more »
Genre:
Tagline:
A Dramatic and Unusual Love Story!
Plot:
Catherine and Alexander, wealthy and sophisticated, drive to Naples to dispose of a deceased uncle's villa... See more » | Add synopsis »
Plot Keywords:
Awards:
2 wins See more »
NewsDesk:
(41 articles)
Review - 'The Trip To Italy'
 (From LatinoReview. 15 August 2014, 2:52 PM, PDT)

Our Daily Bread #5
 (From MUBI. 17 March 2014, 8:00 AM, PDT)

Old Movies, New Tricks: Roberto Rossellini and Ingrid Bergman
 (From SoundOnSight. 23 January 2014, 9:35 PM, PST)

User Reviews:
No longer bodies, but pure ascetic images See more (16 total) »

Cast

  (in credits order) (complete, awaiting verification)

Ingrid Bergman ... Katherine Joyce

George Sanders ... Alexander 'Alex' Joyce (as Georges Sanders)
Maria Mauban ... Marie (as Marie Mauban)
Anna Proclemer ... La prostituta
Paul Muller ... Paul Dupont
Anthony La Penna ... Tony Burton (as Leslie Daniels)
Natalia Ray ... Natalie Burton (as Natalia Rai)
Jackie Frost ... Betty
rest of cast listed alphabetically:
Bianca Maria Cerasoli ... Un'amica di Judy (uncredited)
Adriana Danieli ... Un'amica di Judy (uncredited)
María Martín ... (uncredited)
Lyla Rocco ... La signora Sinibaldi (uncredited)

Directed by
Roberto Rossellini 
 
Writing credits
Vitaliano Brancati (story and screenplay) and
Roberto Rossellini (story and screenplay)

Colette (novel "Duo")

Antonio Pietrangeli  screenplay collaboration (uncredited)

Produced by
Adolfo Fossataro .... producer
Alfredo Guarini .... producer (uncredited)
Roberto Rossellini .... producer (uncredited)
 
Cinematography by
Enzo Serafin 
 
Film Editing by
Jolanda Benvenuti  (as Iolanda Benvenuti)
 
Production Design by
Piero Filippone (uncredited)
 
Costume Design by
Fernanda Gattinoni 
 
Production Management
Marcello D'Amico .... production manager
Mario Del Papa .... production manager
Emimmo Salvi .... production supervisor (as Mimmo Salvi)
 
Second Unit Director or Assistant Director
Marcello Caracciolo Di Laurino .... assistant director (as Marcello Di Laurino)
Vladimiro Cecchi .... assistant director
 
Sound Department
Gilles Barberis .... audio restorer
Eraldo Giordani .... sound
 
Camera and Electrical Department
Aldo Scavarda .... camera operator
 
Music Department
Renzo Rossellini .... music arranger
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"Viaggio in Italia" - Italy (original title)
"Strangers" - USA
See more »
Runtime:
USA:97 min | Italy:85 min
Country:
Language:
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Certification:
Filming Locations:

Did You Know?

Quotes:
[first lines]
Alexander 'Alex' Joyce:Where are we?
Katherine Joyce:Oh, I don't know exactly.
See more »
Movie Connections:
Referenced in A Perfect Couple (2005)See more »

FAQ

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18 out of 20 people found the following review useful.
No longer bodies, but pure ascetic images, 6 August 2011
Author: chaos-rampant from Greece

This is the film that Truffaut writing for Cahiers proclaimed 'the first modern film', going on to praise Rossellini as the father of New Wave. If we don't want to be stridently literal about these things, I agree with him. A bunch of filmmakers who changed the face of cinema in the 60's are all connected to Rossellini and flow out from this film.

At the heart of it we have the familiar trope of a marriage falling apart, melodrama stuff. But modern, meaning understated and without the soaring emotion. We fill the gaps, providing our own understanding of how a relationship works. We participate as players.

So it's about this affair whose nothingness is revealed by the surrounding world, it withers away; the lavish villa with endless views of far horizon, the large, empty veranda where the two of them languish in comfortable lounge chairs. A little outside, it's the countryside of Naples that engulfs them with languid time and hot, lazy weather, a tabula rasa dotted with old ruins.

We're taken on a pilgrimage of these ruins, as the woman looking for a portent that will divine her predicament. The museum filled with statues, the old Roman fort, Vesuvius and Pompeii; Rossellini presents them as mute, ascetic images, images all pertaining to some austere representation into which the woman projects her own world coming to pass. None of them, of course, hold any answers, except as what they are - reminders of the perishable, impermanent world in which we try so hard to grow roots.

Meanwhile, back in Capri, the cynical husband is squandered in his own aimless voyage for something that will fill the time. He courts a woman, much like he did his wife perhaps all those years ago. He feigns and thrusts for desire. Finally he returns home with the same void gnawing inside. Passable stuff, as in La Notte some years later, but the important stuff is with the woman's journey; the Stromboli part of the film as it were.

It is all about the painful process by which ruins are made, time into memory. We are privy to one such enactment in ancient Pompeii (then still being excavated): into the hole once occupied by a dead body, that holds nothing now and is hollow except with shape, the archaeologists pour plaster in order to surmise the shape of that past. Yet what they retrieve is merely the replica of empty space.

Oh, there's the stupidly saccharine finale, no doubt imposed once again on Rossellini by his Italian distributors at Titanus. It's something to be on the lookout for, for how marvelously Rosssellini confounds his censors.

As the couple magically decide they finally love each other, the mob of peasants that surrounds them - participating in some local religious ceremony - cries out in jubilee about 'il miracolo!'. The two lovers are swept aside by people rushing to see, reunited in this nonsensical miracle. The final shot is of police offers looking stern as they inspect the scene, like the censors would the film. Whether or not we choose to accept the one miracle, boils down to whether or not we would the other.

I want to summarize Rossellini here; he's largely forgotten now - probably because when the cinema he envisioned finally took hold, he had already abandoned it. But he's one of the most important filmmakers we have known. You find out that so much of what eventually blossomed with film, grew first roots with him. His transcendent vision was exceptional.

The only misgiving - slight, very slight - is that everything is relatively precise with meaning. Empty space abounds here, the pure ascetic images, yet is mostly filled for us. We're left with simply unearthing the cast, reading the signs. Perhaps I'm saying this because he envisioned so far ahead that I'm comparing him in my mind with later filmmakers who abstracted deeper. No matter, Rossellini ushered cinema far enough.

Now it would be Antonioni's turn to shoulder it; he would supply the breathing, incomplete space into which the imagination can pour into. There is no cast that explains away with him, only the means of immersion into a space empty, waiting-to-be-filled with us (not by us). The ensuing voyage that finally brings us to The Passenger is one of the most fascinating that I know of, but that is covered elsewhere.

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