Catherine and Alexander, wealthy and sophisticated, drive to Naples to dispose of a deceased uncle's villa. There's a coolness in their relationship and aspects of Naples add to the strain. She remembers a poet who loved her and died in the war; although she didn't love him, the memory underscores romance's absence from her life now. She tours the museums of Naples and Pompeii, immersing herself in the Neapolitan fascination with the dead and noticing how many women are pregnant; he idles on Capri, flirting with women but drawing back from adultery. With her, he's sarcastic; with him, she's critical. They talk of divorce. Will this foreign couple find insight and direction in Italy?
A Dramatic and Unusual Love Story!
Did You Know?
George Sanders, in his 1960 autobiography, wrote at length about the making of this film, which he found an exasperating and unpleasant experience. He spoke witheringly about Roberto Rossellini, whom he characterized as being more interested in scuba-diving than in film-making. Although the tone of his remarks is one of amusement, it became known that Sanders (who had admired earlier Rossellini films) had been deeply affected by exposure to a style of film-making quite foreign to his previous experience, and had spent the shoot feeling frustrated and angry, often bursting into uncontrollable tears. See more
After deciding to leave Pompeii, and walking down the stairs for the exit, the arm and shoulder of a crew member appear in the lower right side of the screen. See more
Alexander 'Alex' Joyce
Where are we?
Oh, I don't know exactly.
Referenced in La última película