In the book chapter from the scholarly source in the UC Press E-Books Collection, the author argued that Rossellini, the director of the film Journey to Italy, “refus[ed] to do things in the Hollywood manner”. Even though the film included famous Hollywood actors, the storyline was purposefully vague, unlike the straightforward strategy of the conventional film industry. The New York Times article by A. O. Scott, discussed the “emotional and spiritual sterility” that permeated the Joyce’s marriage through emphasizing the expressions of the characters, rather than the conversations or events surrounding them. This source highlighted the subtle style of conveying the plot that Rossellini, and later Michelangelo Antonioni, used in Journey to Italy. Furthermore, the author states that Rossellini was criticized for “betraying the cause of neorealism, allowing his camera to stray from local social problems to Hollywood stars.”

Journey to Italy delivers an exceptional perspective into the relationship between Katherine and Alex Joyce, which is only aided by the focus on emotions rather than events. The infelicitous state of the Joyce’s marriage is beautifully contrasted with the fertile Italian scenes that are spread throughout the movie. This film leaned towards the unconventional as opposed to the conventional method of filming. Although Rossellini signed on famous actors for his film, he chose to develop the plot in an unhurried manner that is characteristic of unconventional films. The reasons behind the dissatisfaction of the Joyce’s marriage are not described in very much detail, leaving the audience with an ambiguous impression of who is to blame for their problems. The plot is extremely slow to progress, as the characters are involved in what appears to be unrelated sequences of scenes for most of the film.

The question of how the filming techniques involved in the development of the plot were influenced by Rossellini’s directing of the movie, is a historical question that immediately surfaces when considering this movie. Another significant facet of the film is its use of the New Wave historical movement. Although it was developed in the late 50’s and was present during the 1960’s, Journey to Italy, released in 1955 in America, involves definite features of this movement. The symbolism as well as inventiveness that characterize the New Wave movement are evident in the abundantly undefined scenes of the movie.

The problems between Alex and Katherine are never entirely resolved during the course of the movie, but in the end, it is clear that they are both willing to work on improving their relationship. However, for the majority of the film, Katherine is the only one reaching out to Alex, and is constantly rebuffed by his practicality along with his coldness towards her.

In the scene portrayed by the above image, Alex suggests to Katherine that, “the best thing for us is to stay away from each other.” Directly following this, he states his immediate intent to visit Capri while Katherine stays at the villa in Naples. The book chapter entitled, Voyage to Italy (1953), clearly affirms Alex’s position in their relationship, as Katherine is making all of the attempts to bridge the gap between them, while Alex is repelling her at every turn. The 1954 poster of Ingrid Bergman and George Sanders, depicting the former clinging onto the lapels of her husband, also illustrates the fact that Bergman – playing the role of Katherine – is actively trying to salvage their marriage, while Alex is allowing himself to be persuaded.