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    3. Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Posted By: Someonelse
    Date: 8 Mar 2015 07:21:00
    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Indiscretion of an American Wife (1953)
    A Films by Vittorio De Sica
    DVD9 | ISO+MDS | NTSC 4:3 | 01:11:40 + 01:28:38 (Terminal Station) | 7,32 Gb
    Audio: English AC3 1.0 @ 192 Kbps | Subtitles: English SDH | Cover
    Genre: Drama, Romance | The Criterion Collection #202

    Director: Vittorio De Sica
    Stars: Jennifer Jones, Montgomery Clift, Gino Cervi

    An American housewife (Jennifer Jones) vacationing in Italy reluctantly decides to put an end to her brief affair with an Italian academic (Montgomery Clift). She flees to Rome’s Stazione Termini, where she bids him farewell, but he begs her to stay. The film’s plot is simple; its production was not. The troubled collaboration between director Vittorio De Sica and producer David O. Selznick resulted in two cuts of the same film. De Sica’s version, Terminal Station, was screened at a length of one-and-a-half hours, but after disappointing previews, Selznick severely re-edited it and changed the title to Indiscretion of an American Wife without De Sica’s permission. The Criterion Collection is proud to present both versions of this controversial release.

    IMDB | Criterion | DVDBeaver | Wikipedia

    De Sica apparently sought to set his borderline sordid romance in the middle of the mundane but teeming life represented by the train station. In his version, the context has equal emphasis against Jennifer Jones' anxiety and Montgomery Clift's desperation. Our focus is on the hundreds of people in the station, with the result that the film is halfway to being like Jacques Tati's weird Playtime. Various mashers like Paolo Stoppa stare at and follow Jennifer. Crowds of travelers bustle in every direction. All seem to comment on Jennifer's lapsed status as a housewife in good standing. Every cute kid reminds her of her daughter Kathy, back home in Philadelphia.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Selznick was by this time the perfect example of the spoilsport who ruins the game, changing the rules because he owns the bat and the ball. He hadn't had the chance to gum up The Third Man, but he took Michael Powell's impressive Gone to Earth and mangled it beyond recognition. De Sica wanted his cameraman G.R. Aldo to use his standard soft but natural lighting throughout this picture, even on the closeups of the actors. Suddenly there's Selznick, taking command by importing cameraman Oswald Morris to light and shoot all the closeups of his wife (who, we are told in the commentary, reportedly ran screaming at every sign of her husband's destructive interference). Thus we see minutes of deep-focus, naturalistic Italian photography, into which are cut shallow focus, diffused closeups of Jennifer with dramatic shadows on her face. Of course she looks great, but no different than we've seen her since Love Letters or Portrait of Jennie. The whole point to working with De Sica and the Italians was to try something new, an ambition smothered by Selznick. By this time in his career he was shooting himself in the foot 9 times out of 10, demonstrating an uncanny knack for lousy judgment.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Still thinking in terms of a glamour vehicle for Jennifer, when Selznick got control of Stazione Termini for America, he gutted it by 25 minutes. Some changes are subtle, but he also jettisoned many little set pieces, such as when Clift is confronted by a wedding party at train side (the bride is the maid from Umberto D.). The bride gives him a wedding cookie, and Clift tosses it to the ground as he walks away. It's a nice, needed comment on the character; Indiscretion of an American Wife underplays Jones'es indecision while making Clift seem just a spoiled brat, like the overeager (but unspoiled) Richard Beymer.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    To gild his neutered lily and bring it back up to feature length, Selznick slaps on a short subject, Autumn in Rome. It's basically a music video of Patti Page singing the title song (not a bad one) in a Manhattan apartment. It's directed by William Cameron Menzies and shot by James Wong Howe, but it's still dull.

    Audiences in Italy didn't like the mix of realism and Hollywood glamour in their version; the problems of Jones and Clift didn't amount to a hill of beans to them, and they preferred other vignettes, like the one about a workingman and his pregnant wife.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    In the U.S., it was even worse, as preview houses laughed where they shouldn't and catcalled at poor Richard Beymer's earnest character (too bad, the same thing happened again for him in some screenings of West Side Story). Jones'es character was read as wishy-washy, and her and Clift's carefully modulated performances - they're as good as ever, by the way - went for naught. Being caught in the petty humiliation of trespass-necking in the railroad car was just the kind of miserable non-offense that might happen to an ordinary couple, but in Selznick's over-inflated romance, it plays as ridiculous. Star characters in movies walk away from major transgressions, and even 1953 average audiences would surely have no patience for Clift not to just punch somebody out and wrest his girl from the police.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    With another disaster on his hands, and his career spinning to the ultimate waste of A Farewell to Arms, Selznick let the film be released with what has to be the most insulting trailer of all time, an ugly concoction complete with fake newspaper that grossly misrepresent the content of the film ads spinning up in our faces. The simple embarrassment in the train car is now a huge police case and scandal, and Clift dodging past a train is turned into a suspenseful shocker. In the trailer, Jones is a lustful tramp. It's really depressing, and must have made poor Jones and Clift sick.

    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    There are some great things in Indiscretion of an American Wife / Terminal Station, namely the acting and several amazing takes, like a full two-minute silhouetted conversation in the train car. The photography and use of extras throughout are both marvelous. Cicognini's rhapsodic love theme is very good, although the movie would probably have benefited with a more spare sound track, if De Sica were allowed to follow through with his original concept.
    DVD Savant
    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]
    Indiscretion of an American Wife / Terminal Station (1953) [The Criterion Collection #202] [ReUp]

    Special Features:
    - Includes new digital transfers of both versions of the film: Indiscretion of an American Wife: Selznick’s 72-minute cut, including the Patti Page-performed overture “Autumn in Rome” and “Indiscretion”; Terminal Station (Stazione termini): De Sica’s original 89-minute version
    - Exclusive audio commentary on Indiscretion by film scholar Leonard Leff (Hitchcock and Selznick: The Rich and Strange Collaboration of Alfred Hitchcock and David O. Selznick)
    - Original theatrical trailer
    - Promotional materials
    - Optimal image quality: RSDL dual-layer edition

    All Credits goes to Original uploader.

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