The opening scenes of this melodrama look like a travelogue graced by Jack Hildyard’s gorgeous Technicolor cinematography. I guess tourism was becoming more popular in the post-War era and the shots of Venice would no doubt have tempted many to visit. All these scenes lack is a complacent voice over selling us the place’s charms in a twee way. Fortunately the film stars Katharine Hepburn.
The slight ‘holiday romance’ story was adapted, from Arthur Laurent’s play, by director David Lean and H.E. Bates (and the uncredited Donald Ogden Stewart). Hepburn’s ‘independent woman’ persona is to the fore at the start as she’s touring on her own but finds the ‘romance’ of Venice casts her loneliness into the foreground: cue Rossano Brazzi’s Italian charmer, Renato di Rossi. What makes the film distinctive is the way Jane Hudson’s (Hepburn) loneliness is portrayed as it isn’t just something that is presented as a ‘narrative lack’ to be fulfilled ‘happily ever after’ at the film’s conclusion. There’s real pathos in Hepburn’s performance as she hesitates to go for the ‘holiday fling’. Her ‘middle aged spinster’ characterisation takes up a fair proportion of the film and the scriptwriters don’t compromise with their ending.
In a striking scene, when di Rossi first sees Hudson we get that rare beast: the male gaze directed at an ‘older’ woman (Hepburn was 48 at the time). We see him appreciatively look at her body, particularly her exposed calf. Even the ‘cute’ kid isn’t too irritating though Lean’s tendency to shoot a lot of the conversations in long takes and an immobile character tends to drain the drama. However, the numerous shots of Hudson wandering around a crowded Venice are skilfully executed.
Apparently the adultery fell foul of the Production Code and scenes were cut: the film leaves us with a firework display. Hepburn received one of her numerous Oscar nominations; Lean, too, was nominated.