Hellen I like the storyline of this show,it attract me so much

Unlimitedia Sick Product of a Sick System

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

ElMaruecan82 It's another "Voyage to Italy" that lead me to that one, Martin Scorsese's documentary recollecting the Italian classics that forged his inspiration, among them was that intriguing Rosselini movie starring George Sanders and Ingrid Bergman. It didn't have a De Sica vibe but there had to be a reason Marty put it on his to-watch list.Indeed, "Voyage to Italy" is another of these raw diamonds like only Italian Neo-realism could produce. It starts with a couple coming from London to Napoli to sell a villa belonging to a recently deceased uncle. There's no further development in that element of the plot, the focus is on the relationship between Alex and Katherine Joyce, and from the first exchanges, we understand that something is not going well. And that journey in Italian countryside might affect their relationship, for better or worse.Fittingly, Ingrid Bergman gives an eerie 'Bergmanian' feeling to these first interactions, an odd mix of personal involvement and total detachment that you can only spot when you're married. I've been married for four years now, and I can tell when a husband and a wife only talks to break the silence. This is how dialogue is crucial in the movie, what they say is secondary to the story, it's all in the 'how they say it'.What we take from the exposition though is that this highly educated, upper class, a bit worn out, couple never did anything together besides marrying: no children and no travels. So, this trip to Italy might be a good medicine against the monotony that kept poisoning their couple or the deathblow on an agonizing marriage. She admires poetry, Mediterranean idleness and fascination for sweet and simple things; he abhors this laziness, so common among little people. While they converged to the same point, they couldn't be more divergent everywhere else. And it doesn't come as a surprise when they choose to visit Italy separately.Katherine visits museums, temples, she's fascinated by art, by these looks on marble statues, by these colossal relics where men identified imitated Gods, saw things in big, and she seems to remember how little his life has shrunk to. The delight of these visits is also spoiled by the old guides whose nonchalant and rapid tone make impossible any form of contemplation or meditation on such majestic beauty, anything to forget her marital boredom.Alex is more drastic; he simply meets other women, spending as many pleasant evenings as he can. After all, didn't he see Katherine being courted by all these luscious Italian bourgeois during a party and let it go? Did she or did she not intervene when he was talking to an old feminine acquaintance the night before? Alex rhymes with complex, his language consists on hurting to provoke a reaction, and bizarrely, a non-reaction is much more displeasing. At the end, they never acknowledge having fun and never really talk. Why? In fact, both are looking for ways out. It's obvious that Katherine needs Alex more than a guide. And so does Alex. During a crucial night, he meets a prostitute and takes her for a ride, she then confesses in the car that she was about to commit suicide and needed someone to spend the night. Alex doesn't accept as if he felt it could be that mistake he might regret it forever, and no girl yet would be worth such sacrifice. Yet when he's back to the hotel, he wastes another opportunity to let his heart talk.The day after, Katherine goes for a last trip to the catacombs, discovering meanwhile the joyful population of Napoli, full children and pregnant women, everything she lacks. Her guide, a lady who works at the hotel, notices the same because she can't have children. As a married man, I remember before my wife got pregnant, we couldn't help noticing those who were. Loveless and childless people have the eye for such things. And Katherine doesn't even have the luxury to love Alex through a child.And that boiling frustration explodes when she's confronted again to an infuriated Alex and the argument escalates to a "let's divorce" that sounds the death knell of their marriage. But they have no time to digest the decision as they're coerced to visit Pompeii's ruins. And in a heart-pounding moment, we follow the disinterment of a corpse, followed by another one, a husband and a wife, literally rooted to the spot by a sudden torrent of lava and ashes. A moved Katherine leaves the site, followed by Alex, who'll admit later the sight hit a sensitive chord too.In their way back, they're blocked by one of these typical Italian crowed processions, so they get out of the car. And while the taboo word was spoken, Katherine felt even more uncomfortable than she was at the beginning, and God, how true to life it is. Couples are weird you know, once you talk of separation, this is when you realize that there's something that deeply ties you to that person, more than love, a sort of moral commitment and visceral need to stay together. Alex still believes it is the right choice, probably exhilarated by the perspective of enjoying life, too short to be drowned in an ocean of unhappiness.And in one of the greatest twist endings, Katherine is literally swept along the human wave and literally taken out of Alex' hands. Alex feels then how precious she is for him and goes save her and they embrace … and there's no need for words anymore. We know they lanced the boil. And I wish this could be the last image of the film, the conclusion of an ordinary story speaking so many true statements about marriage.Indeed, there's more to discover in marriage than the country you visit as you might feel even more estranged to the beloved one than you are in the country.

MisterWhiplash Roberto Rossellini wasn't about to rest too much on his laurels - or let a little thing like a controversy slow him down (an affair with Ingrid Bergman that wrecked marriages, albeit produced daughter Isabella which is nothing short of miraculous) - so a film like Journey to Italy seemed like just the thing to get him motivated and challenged. It's a challenging picture. There's not the same sort of melodramatic drive through a lot of it that you see in Rome Open City or even Stromboli - at least until perhaps the last third. I remember seeing the clips in Scorsese's Italian movies documentary, though it was hard to come by except on over-priced VHS online, until the Criterion collection put out a Rossellini/Bergman box-set, which gave me my chance last year.I have to wonder if Kubrick might've watched this film before making Eyes Wide Shut, if only for the early scenes. But there's little chance for real romance here; Bergman and George Sanders are the married couple, on holiday in Rome. Well, partly holiday anyway, more like an estate deal that's being closed on (an inhereted villa in Naples actually), and she's bored out of her mind... at first. Very slowly as she goes on trips to museums, encouraged by an acquaintance, there is a certain mood about Rome, a history, the objects which loom over her and speak to something MORE than what she is experiencing in her life and marriage, that do something to her.Of course, stuffy George Sanders can't see that - nor that their marriage isn't very happy at the moment, or about there being a lost lover in the equation as well (flirting for Sanders, too). And there may be more trouble on the horizon as well, but what's so fascinating is that Rossellini keeps a lot of things under the surface, the unspoken between the two, the tension, is what has to be put forward. For drama, this can be tricky, and Rossellini with his documentary background is able to get his actors to such a place as to be totally comfortable in their characters - people who are paradoxically uncomfortable with where they're at, romantically, spiritually (spirit's a big one), and geographically. And in a sense the ultimate message here reminds me of the line from Night of the Living Dead, where an unhappy married woman says to her husband: "We might not like living together... but dying together won't solve anything." Is this couple sort of, you know, trapped? Most likely, and the zombies are actual conflicts they're avoiding in life. A lot of what they end up seeing together is death. This comes by the way right when they tentatively agree after a really bad argument (there's a lot of arguing here by the way, but all believable because it's these two stars who are tremendous talents. They're taken along on an archaeological expedition, and they're privy to the remains of people from long ago. It's a startling, breathtaking sight for them, maybe more for Sanders in a way because he hasn't already been exposed to these bewildering, eye-opening sights like Bergman has. And this realization of one's mortality dawns ever closer.Journey to Italy was a prized darling among the French New Wave, and perhaps it's because of the questions it raises about life and death, love and loss, and having any sort of REASON for anything, that gives it an existential edge. Have things been too petty for them? Can they reconcile? The ending is where Rossellini finally lets things boil over dramatically speaking: in a way this is a more sophisticated film, if a little harder to exactly "enjoy" outside of a sort of intellectual level (unlike, say, Open City), but when Bergman and Sanders are torn apart, if only briefly, by a parade, it becomes a BIG struggle, and that's what counts. What will you do with the time you have here? Love, squabble, fight, bicker, take things in and experience things? Maybe all of those.I'm glad the movie was re-discovered and championed by those crazy bunch of Cashier du Cinema folks; the movie works its way ever so slowly on you, and has the layers of great art revealing itself. Did I mention how good these two actors are, especially Bergman again with her husband/musee? Good, it's worth repeating.

Sergeant_Tibbs Journey To Italy is one of those films with recognisable names in front and behind the lens and appears to be very acclaimed, most notably ranking very high in They Shoot Pictures Don't They's top 1000, yet I don't personally know anyone who's a fan. Besides Martin Scorsese, I can't name anyone who vouches for it. In starting the film, it's difficult to see why it deserves such a noteworthy position. It's quite haphazardly produced with clunky framing, editing and exposition in its script. I suppose it's a necessary evil essential to all films but it didn't seem to have much life to it. Perhaps it was ahead of its time in some regard. Fortunately I love Ingrid Bergman and I felt her performance was remarkably subdued, particularly in her reaction shots. A lot internally going on there. Very whole-hearted compared to George Sanders who relies on bulky screen presence.The plot continues and dwindles as we follow the two characters independently exploring their impulses, Bergman inquiring the remains of Pompeii and Sanders experimenting with infidelity. It's difficult to be invested in such a neutral relationship, especially when the cameras don't really pick up the beauty of the scenery. The film hits fever pitch late and we swiftly come to the predictable conclusive moments and that's when something incredible happens. The film, or the version I watched, is a short 80 minutes and it must be all set to build to these final minutes. It becomes movie magic, both emotional in the characters and the suddenly electrifying camera-work. Even though the catalyst is something you can see coming, the film feels worth it for that satisfying sense of love in the end. It's a shame the film is so unbalanced and it could've delivered more treats along the way, but I guess I can kind of see what Marty sees in it. 7/10

writers_reign I had to work at watching this impartially because it came complete with an albatross around its neck in the shape of the statement by Truffaut that this was the real beginning of the new wavelet which contrary to what the academic-pseud access keeps on mantra-ing did NOT change the way people made films; watch any mainstream film made since the end of the 60s and you'll find they are STILL being made in the pre-New Wavelet style. That being said any film with Ingrid Bergman in it is worth watching - well, ALMOST any film, strike Under Capricorn. George Sanders is not exactly chopped liver too but Rossellini is hardly afraid of the odd metaphor - empty spaces, isolated images, Pompeii as symbol etc. Once we get past the ultimate metaphor - the JOURNEY itself, a non-too subtle nod to Heart Of Darkness - we are left with a beautiful actress and an actor more at home in support than leads. On that level it's worth a look