This may be the most influential, least seen film in European cinema. And it reveals itself anew with each viewing, so subtle is Rossellini's integration of exterior and interior worlds. The camera's cipher is a car window; then, as we get acclimated to the voyage, the eyes of Ingrid Bergman herself. Bergman and George Sanders are Mr. and Mrs. Joyce, an English couple in Italy to see to the sale of an inheritance, a villa outside Naples. In this setting the staleness of their marriage is painfully revived (like James Joyce's “dead” it calls outside the window). Rossellini beautifully evokes the mystery and physicality of antiquities, so that by the time we visit Pompeii, where archaeologists dust off first a leg, then another, and another to reveal a couple who were caught together by the rush of death, we have been fully integrated into Katherine Joyce's worldview in which everything old is new and real and personal. Then, in a film filled with the awe and horror of discovery, Rossellini the realist offers up a miracle.