Here are some well-known faces from Sundance over the years, as they brought their early movies to the festival.
Related lists from IMDb users
Title: Journey to Italy (1954)
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| Complete credited cast: | |||
| Ingrid Bergman | ... | Katherine Joyce | |
| George Sanders | ... | Alex Joyce | |
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Maria Mauban | ... | Marie (as Marie Mauban) |
| Anna Proclemer | ... | La prostituta | |
| Paul Muller | ... | Paul Dupont | |
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Anthony La Penna | ... | Tony Burton (as Leslie Daniels) |
| Natalia Ray | ... | Natalie Burton (as Natalia Rai) | |
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Jackie Frost | ... | Betty |
Married for eight years with no children, Brits Katherine and Alex Joyce are driving to Italy, their ultimate destination just outside of Naples to sell the villa they have just inherited from his uncle, the villa where they will be staying during their time there. On the drive, they come to the realization that this trip marks the first time that they have truly been alone together, and as such don't really know one another in the true sense. While in Italy, they end up mainly embarking on pursuits separate from each other - Katherine preferring the cultural, Alex preferring "company" including with some acquaintances they didn't know were in Naples until running into them on their first night in the city - and on the few occasions when they do spend time together, there is a tension and an underlying increasing want on both sides to hurt the other emotionally in their individual beliefs of what the other is thinking or has done in their time apart. As their marriage slowly falls ... Written by Huggo
It's a mismatch from the word go for the English couple Alex and Katherine Joyce (Sanders and Bergman), who arrives in Naples to sell a villa they recently inherit, with Mount Vesuvius as its backdrop. When Alex promptly offers to supersede his wife in the driver's seat of their vintage Bentley, we (Katherine included) might take it as a gentleman's caring gesture, but thanks to Sanders' time-honored cold tone and stolid expression, in hindsight, it is more inclined to be construed that he simply does not approve of her driving skill, a veiled, extrinsic expression of their essential conjugal strife.
In Roberto Rossellini's JOURNEY TO ITALY (one of his 5 collaborations with Bergman in feature form), there is plenty elbow room for audience to wallow in one's own woolgathering of the Joyces' on-the-rocks relationship, as the narrative loosely unfolds in a lethargic trance when the pair obviously and obdurately alienates from each other.
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