Sexyloutak
Absolutely the worst movie.
Glucedee
It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.
Robert Joyner
The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one
Neil Doyle
Even in its truncated running time, INDISCRETION OF AN American WIFE (the U.S. title of TERMINAL STATION), is an outright bore from beginning to end with miscasting and lack of chemistry between the two leads--JENNIFER JONES and MONTGOMERY CLIFT.Each performs in a quirky manner--perhaps they do deserve each other, but the chemistry is clearly lacking despite the huge close-ups of Miss Jones' anguished face and Clift, before the accident that scarred his face. Whenever Jones gets overly emotional, Clift keeps a rigid, fixed look, almost robot-like in manner.He is as unconvincing as an Italian as she is as a housewife from Baltimore. Despite the neo-realism of the settings, the film never achieves a note of real anguish or believability. Vittorio de Sica's direction doesn't help the performers. Incredibly, the only decent performance comes from RICHARD BEYMER in one of his earliest roles as a child actor.Why Selznick allowed his protégé/wife to appear in this sort of trash is something I cannot understand, since he was supposed to be so particular about choosing just the right vehicle for the actress.
shenyanggetsdrenched
If the fleeting vapor of your feelings carries greater sway than your commitment to family, have we got a film for you. For the low price of some mild embarrassment & the restraints of secrecy, you can throw away all sense of fidelity & the stability of family. True, you may have some casual, light, & momentary reflections on your spouse or children, but these will pail in comparison to the cheap counterfeit to loving commitment that infidelity offers. You can always feign fidelity, harbor adulterous feelings in your heart, & wonder what might have been...if ever your family life is less than ideal.Don't allow your conscience or the self-righteous convictions of others exaggerate the merely fatal poison you have fed your family & your soul; you can easily build up an immunity to the regret of your self-inflicted destruction by hardening your heart, passing the buck, & rationalizing your choice.
walther_von_wartburg
This film will not appeal to everyone, but even with the ravages executed by Selznick on the American cut, Stazione Termini (Selznick's U.S. version: Indiscretion of an American Housewife) remains a powerful film for those who can appreciate it.To be sure, there are faults, especially unfortunate in light of De Sica's credentials. Most striking are that Montgomery Clift as American-Italian is a spectacular error, not so much in casting, as in characterization (American expat would have worked); far too much English comes from the mouths of early-1950s Romans and other Italians; and the American housewife is perhaps overly oblivious to the italianità around her. Otherwise, mostly spot on, at least in the full version.Jennifer Jones, beyond radiant in her prime-of-life womanhood, exudes a sensuality that both contrasts strikingly with her 1950s-prim exterior and celebrates the troubled woman within: proper well-brought-up ladies can have passions, too, a marriage ceremony is no guarantor that all will be well 'til death do them part, and she, like so many before her and after, struggles when smoldering embers flare and she senses that the 'groove' of her comfortable, uneventful marriage may actually be 'rut'.As would be expected of De Sica, his rendition of the setting -- the newly rebuilt Stazione Termini itself, trains, travelers -- is so accurate as to pass for a recording, and protagonists as well as the concentrically-involved supporting cast embed within it void of staging, with total plausibility.The arrest scene and its aftermath also verges on documentary in its genuinity. The strict proprieties of post-WWII Rome -- for some Romans very genuine, for others hypocritical sham even then -- may seem contrived to a young American or British viewer today, but the inevitable tension was very real at the time, and De Sica presents its effects honestly, and with éclat.Give Stazione Termini a chance. Enter the time and place. De Sica managed to do a fine job of it, in spite of Selznick's ill-advised meddling, and he deserves far more more credit than he's normally given for this effort. So does Jennifer Jones, who is magnificent here.
wes-connors
The film starts out beautifully, thanks to director Vittorio De Sica, and camera-persons Aldo Graziati and James Wong Howe. Jennifer Jones (as Mary Forbes) is an unhappily married woman who has been visiting her sister in Rome; there, she has had an affair with half-Italian Montgomery Clift (as Giovanni). Ms. Jones and Mr. Clift, have, from the looks of things, fallen madly in love during the liaison. Unfortunately, "Indiscretion of an American Wife" (aka "Stazione Termini"), set exclusively in a Rome train station terminal, never progresses from its initial visual stimulation.Jones and Clift are worth watching, especially if you are a fan; however, their relationship does not exactly enchant. Although it would, admittedly, alter De Sica's artistic intention, some scenes of their initial meeting, and attraction, would have helped. The fact that Clift swats Jones rather forcefully suggests some cruelty in their relationship; additionally, Clift sometimes looks at Jones with a touch of madness in his eyes. The two seem to inhabit a slightly demented world of their own; but, not enough of their background is known to make it interesting. Richard "Dick" Beymer (who'll later be "Tony" in "West Side Story") is an unexpected highlight as Jones' overprotective young nephew Paul, who hangs out at the train station. ***** Indiscretion of an American Wife (4/2/53) Vittorio De Sica ~ Jennifer Jones, Montgomery Clift, Richard Beymer, Gino Cervi
