Summertime

According to the opening credits, the main female protagonist, coming from London, travels from Paris to Venice on the Orient Express. The opening scene shows the 'Simplon-Orient Express', which left Gare de Lyon at 7:54 p.m. the evening before, bound for Istanbul and now to see on the Ponte della Libertà lagoon bridge, which at the time was still double-tracked, between Mestre and Venice. The trolleybus line has long since disappeared, but both now the railway line is four-tracked and the motorway is four-lane.

While Jane Hudson (Katharine Hepburn) is talking to a British fellow traveller (André Morell), the first houses of Venice come into view. The headrest cover with the initials B.L.S. is noteworthy (see also Capture 82).

After arriving at Venezia Santa Lucia station, Jane fights her way through the crowds on the platform to follow her porter.

Jane on the way to the exit of the railway terminus. The row of buildings along the Fondamenta San Simeon Piccolo at the sestiere (borough) Santa Croce can be seen through the modern glass front.

In the covered forecourt, Jane walks through the cordon of uniformed employees who take guests to the hotels by water taxi. In the background the Ponte degli Scalzi over the Grand Canal can be seen, which also appears in 'Istanbul Express'.

While Jane enters the 'Ferrovia D' boat station on Fondamenta Santa Lucia, the San Simeon Piccolo church can be seen in the background. Also notable are the shadows cast by the camera and the film crew’s spotlights.

Motoscafo 127 from the Mark III series, No. 115 to No. 147, built up from 1940, of the then Azienda Comunale di Navigazione Interna Lagunare sets off in the direction of the sestiere Dorsoduro. In the background again Ponte degli Scalzi and behind tower and dome of Chiesa di San Geremia.

On board, Jane meets the American couple McIlhenny from Illinois. To the port side, Ponte de la Croce, which spans the Rio dei Tolentini, can be seen.

After Basilica Santa Maria della Salute, Chiesa di San Geremia mentioned above comes into view in another incoherent establishing shot. The church is also located on Canal Grande, but at the mouth of Canale di Cannaregio, in the completely opposite direction of travel.

The motoscafo heads for the Rio Novo and heads towards the iron Ponte Santa Chiara. On the port side Fondamenta Croce with the Giardini Papadopoli can be seen.

Still on the Rio Novo, which was opened in 1931 to provide a quick connection to Piazza San Marco from Piazzale Roma for the increasing number of tourists arriving by car. On the port side, Ponte del la Cereria can be seen, while on the starboard side, Ponte del Pagan rises into the frame directly at the junction with Rio dei Tre Ponti.

Further along onto Rio Novo, before passing under Ponte de la Cereria, Ponte de la Sbiaca comes into view.

Because a gondola is crossing the canal, the motoscafo has to stop at a red light. In reality a little ahead of itself, as the vessel is already on Rio de Ca' Foscari at Campo San Pantalon, where Ponte Santa Margherita can be seen partially in the background.

The view from the wheelhouse towards Rio de Ca' Foscari reveals that the motoscafo is actually still on Rio Novo, about 150 metres from the pier at Campo San Pantalon. The gondola, coming from Rio de Santa Margherita, changes over into Rio del Malcanton, while the Ponte Santa Margherita can be seen again in the background.

After the traffic light on the top right turns green, the motoscafo picks up speed again and enters Rio de Ca' Foscari. The view from Fondamenta Bembo del Malcanton also brings the Chiesa di San Pantalon into view in the background.

Still sailing along Rio de Ca' Foscari, Motoscafo 127 approaches Campo San Pantalon again, to see on the port side.

Immediately at Ponte Foscari, Motoscafo 127 stops again as two fireboats from the Vigili del Fuoco, including the 'Balena', leave the Fire Department.

The then Line 2 was later abandoned due to the strong waves in the narrow Rio de Ca' Foscari, which can be seen impressively in this shot directly at Ponte Foscari.

The vessel then passes the vaults of the Fire Main Station (Caserma Centrale) from 1928 on Calle Larga Foscari.

The 19th-century lantern belongs to the Palazzo Ca' Foscari and illuminates the corner of the house where the motoscafo turns starboard into Canal Grande in the direction of Bacino San Marco. In the distance the Rialto Bridge can be recognised, to the right of which is the campanile of the Chiesa di San Bartolomeo.

As continuation of Capture 9, so to speak, another incoherent establishing shot, with Chiesa di San Geremia at the confluence of Canale di Cannaregio into Canal Grande now shown almost in its entirety.

The magic of cinema makes it happen, that contrary to the direction of travel in Capture 20, the motoscafo is about to pass under the landmark Ponte di Rialto.

Meanwhile, Jane and the McIlhennys have got off at the 'Accademia' boat station. At the Campo de la Carità, Mrs McIlhenny waves to a porter.

Coming from Chiesa di Santo Stefano, Jane follows her porter (Gino Cavalieri) across Campo Santo Stefano on the way to her hotel. In the background on the left the monument to Niccolò Tommaseo can be seen, created by Francesco Barzaghi in 1882.

Quickly proceding along the narrow Calle de Mezo, which …

... ends directly at the Sotoportego de le Acque.

From the balustrade of Ponte dei Bareteri, Jane looks out over Rio dei Bareteri, with Ponte de le Acque visible in the background.

And once again the magic of cinema comes into play, because suddenly Jane is standing on Ponte de le Acque and looking in the opposite direction, so that Ponte dei Bareteri now comes into view.

Back in the sestiere Dorsoduro with the terrace of the fictional 'Pensione Fiorini' overlooking the Grand Canal. In reality, we see a set by film architect Vincent Korda, which was built onto Campo San Vio.

Jane with Signora Fiorini (Isa Miranda) on the balcony, overlooking the Santa Maria della Salute church. Also a set construction, probably built on the roof terrace of the building between Calle del Squero and Rio de la Salute.

Back on the terrace of the 'Pensione Fiorini', where the Yeagers (Darren McGavin and Mari Aldon) have gathered alongside the US tourists. Rio de San Vio can be seen in the background.

While the other guests go for a stroll through the city, Jane stays alone on the terrace. The view is of the Canal Grande with Palazzo Barbarigo on the right.

Katharine Hepburn in the corner of the terrace facing Palazzo Loredan Cini, which is accessed from Campo de San Vio by a separate bridge over Rio de San Vio.

The view from the terrace towards Ponte de San Vio, which connects Fondamenta Bragadin (left) with Fondamenta Venier (right). Ponte de Mezo can be seen in the background.

Jane finally decides to explore the surrounding area and walks along the colonnade at the Rio Terrà dei Catecumeni to the corner with Calle Lanza.

A temporary GEV shot to confirm Manuel's location.

Coming from Ramo San Cristoforo, Jane walks along Calle San Cristoforo towards Campiello Barbaro.

At the top of Ponte San Cristoforo, a palazzo catches Jane's attention and is observed by the street boy Mauro (Gaetano Autiero).

The view of the courtyard side of Palazzo Ca'Dario, located directly on Canal Grande.

Mauro tries to sell the 'Lady' a few postcards. Ponte San Cristoforo over Rio de le Toresele, with Jane on the steps to Campiello Barbaro.

Beyond the Canal Grande in the sestiere San Marco: Arriving at Campo San Moisè, Jane hears the bells of the Campanile of San Marco ringing and heads towards St. Mark's Square. On the right the modern marble facade of the 5-star Hotel Bauer.

Jane on the Ponte San Moisé across Rio de San Moisè, walking towards Calle Larga XXII Marzo, actually going away from St. Mark's Square. In the background the Chiesa Parrocchiale di San Moisè can be recognised.

Jane in Calle Seconda de l'Ascension, looking towards Calle Vallaresso, while the Salzada San Moisè can be seen in the background.

Approachiing from Calle Larga de l'Ascension, Jane finally reaches St. Mark's Square on the west side. In the background the St. Mark's Basilica, the Campanile and the Doge's Palace are visible.

Piazza San Marco, seen from the east side, filmed from the western cupola of the Basilica di San Marco. Along the perimeters of the square the Procuratie Vecchie (Old Procuracies), on the left, and the Procuratie Nuove (New Procuracies) can be seen, connected by the Napoleonic Wing.

At St. Mark's Square, more precisely in the Bar Chioggia on the corner of the Piazzetta San Marco, Jane enthusiastically films the surroundings and attracts the attention of a local (Rossano Brazzi) at the next table.

Back at the gondola jetty of Campo San Moisè, Jane is overcome by a feeling of melancholy, shot on Ponte San Moisè.

The next day starts with an establishing shot towards the Basilica Santa Maria della Salute at the Canal Grande, taken from the roof terrace of the Londra Palace hotel. At the bottom right is the Riva degli Schiavoni, while in the distance on the left the dome of Chiesa del Santissimo Redentore on Giudecca island can be recognised.

The McIlhennys treat themselves to a gondola ride on the Canal Grande in the scorching sun. The Palazzo Ducale can be seen in the background.

Jane is sitting in one of the street cafés at Campo Santo Stefano, where Mauro begs her for a cigarette for his Nonno (Grandpa), which he later smokes himself.

Jane then goes in search of an antique shop and walks across the square towards Ponte dell’Accademia. In the background Palazzo Franchetti and Chiesa di San Vidal are visible.

From Calle de le Boteghe, Jane crosses Rio San Barnaba on Ponte San Barnaba from 1873.

After strolling past the window of the store in the background, Jane stops dead in her tracks.

Equipped with sunglasses and an English-Italian dictionary, Jane spontaneously enters the antique shop. The view through the shop window shows not only the object of her desire, but also a part of the San Barnaba square.

The charming shop owner, Renato de Rossi, turns out to be the same person, who she seen the day before in the Piazetta and assures Jane that it is a real rarity from the Murano glass factory. Between them, in the background, Ponte dei Pugni, which spans Rio San Barnaba and connects Fondamenta Giardini with Fondamenta del Squero.

Jane decides to spend her siesta in the Chioggia Bar again in the hope of meeting Renato de Rossi again. To do this, she places the coffee cup away from herself and leans the free chair against the table. Unfortunately, Renato, who is looking for Jane in the background, misunderstands her "seat reservation" and thinks that Jane is accompanied, so he walks on with a friendly greeting.

Disappointed and a little annoyed about her inability, Jane falls into melancholy after returning to the hotel. The view from the balcony, a set construction as mentioned, across Canale della Giudecca towards Isola di San Giorgio Maggiore ...

... and high above the Fondamenta Zattere ai Saloni in the direction of Punta della Dogana. While the Campanile di San Marco towers on the left, the waterfront of the Riva degli Schiavoni can be seen in the distance along the Bacino San Marco.

After the botched rendezvous, Jane on a whim decides to visit Renato de Rossi in his shop. At the fountain in the Piscina Sant'Agnese, located in the Dorsoduro district, she tries unsuccessfully to find the antique shop with the help of a city map.

Luckily, little Mauro turns up again and guides Jane to the shop at Campo San Barnaba. Here the two of them walk along Fondamenta Alberti.

As is well known, the 'Antichita de Rossi' is located directly on Ponte San Barnaba, but Jane discovers that the shop owner is not there.

So she decides to take a picture of the shop front and waves to Mauro, who is standing in the way, to come over. Behind her is the campanile of the Santa Maria dei Carmini church.

As Jane walks backwards slowly, her eyes fixed on the camera's viewfinder, she loses her balance and falls into the Rio San Barnaba, but Mauro manages to grab the camera. An iconic scene in the history of cinema, with Ponte dei Pugni in the background.

The corpulent man (Angelo Puppin) in the foreground gesticulates as he describes to an interested crowd what has just happened to Jane, only to fall into the canal himself shortly afterwards. The Campo San Barnaba also appears again in 'Indiana Jones and the Last Crusade', where the Basilica of San Barnaba serves as a fictional library.

During the Redentore Festival, Jane spends a romantic evening with Renato in Piazza San Marco. Later in the sestiere Cannaregio on Ponte Racheta, the couple observes an illuminated barge on Rio de San Felice, with Renato saying that "he lives right up there". The steps in the foreground belong to Ponte Chiodo.

On the way back to the hotel, they kiss for the first time. Afterwards, Renato waits under the sotoportego of the Hotel Splendid on the corner of Calle Regina until Jane takes the steps to Ponte dei Pignoli to cross Rio dei Bareteri to the fictional 'Pensione Fiorini'.

A temporary GEV shot to confirm Manuel's location.

The view from the roof terrace of Torre dell'Orologio towards Piazzetta San Marco, with St. Mark's Basilica in the foreground on the left and the Doge's Palace behind it, and on the right in front the Loggetta del Sansovino at the foot of the Campanile San Marco. Straight ahead in the distance, beyond the Bacino San Marco, the Canale della Grazia can be seen between Isola di San Giorgio Maggiore (left) and Giudecca island.

In the colonnades of Palazzo Ducale, Jane explains to a disappointed Mario that she unfortunately doesn't have time for him today. She's planning on visiting the beauty salon before her date with Renato in the evening.

After a heated argument because it turns out that Renato has wife and children but lives separately from his family, Jane reconciles with him and spends the evening dancing. They end up spending the night together at Renato's home, located at Ponte Chiodo 3750C. The bridge, which still has no railings today, only serves as an access to a few neighboring house entrances on the east side of Rio San Felice.

A temporary GEV shot to confirm Manuel's location.

At dawn, the lovers stroll, tightly embraced, across the deserted Piazza San Marco towards Jane's hotel. The two lions in the foreground guard the entrance to the Piazzetta dei Leoncini on the north side of the Basilica di San Marco, while in the background the spire of the Chiesa Parrocchiale di San Moisè can be seen above the Napoleonic wing of the Procuracies.

While Renato waves from the jetty of Campo del Traghetto, the gondola ferry, called Servizio Gondole Santa Maria del Giglio, takes Jane across the Grand Canal to the jetty of Calle del Traghetto San Gregorio. In the background are the two Palazzi Nani Mocenigo and Orio Semitecolo.

The next day it takes a water taxi to the island of Burano, where Renato wants to spend a few carefree days with Jane. The campanile of Chiesa Parrocchiale di San Martino Vescovo can be seen from afar.

The boat docks at Fondamenta di Cao Molecca, while Fondamenta di Cavanella can be seen opposite. Here too, the house facades are now painted in different colours ...

... as was already the case beyond Ponte dei Tre Ponti, i.e. in the upper part of the Fondamenta di Cavanella, filmed from Fondamenta di Cao Molecca.

The view under the Ponte Pontinello to Fondamenta Pontinello Sinistro on Rio Pontinello.

On Fondamenta degli Assassini at the corner with Calle Checoso with a view of Fondamenta San Mauro opposite.

Emerging from Calle Capece, the two reach the corner where the Fondamenta di Cavanella turns right into the Fondamenta San Mauro.

A shot like a painting, as Renato rows with Jane to a spot in the reed belt near Burano, where they make love undisturbed. At sunset, the Basilica di Santa Maria Assunta on the island of Torcello can be seen in the distance.

At Piazza San Marco, Jane meets Renato in the famous Caffè Florian, where waltz is played traditional. In the middle of the background one can see Torre dell'Orologio and on the far right St. Mark's Basilica.

Jane has decided to end the romance and return to America. A dismayed Renato has just learned that she is leaving today and that the train leaves in two hours. The two are standing on the bridge across Rio de la Sensa to Campo de l'Abazia in the Cannaregio district, with Chiesa dell'Abazia della Misericordia in the background.

The two are once again standing at Campo del Traghetto, albeit under less than romantic circumstances. Behind them the wall altar for the Santa Maria del Giglio is visible.

Back at Venezia Santa Lucia station. A short shot before shows the exit signal still glowing Red, while at the head of the Milano bound train the larged-wheeled FS Class 685 with Caprotti valve gear of the Italian State Railways can be recognized. The simple and clear lines of the four-cylinder 2-6-2 'Prairie' type tender loco, which even was the standard express steam engine in Italy due to its low axle pressure, are reminiscent of British steam locomotives.

As Jane boards the carriage to Paris, little Mauro comes running to say goodbye to her. We see a mixed class corridor coach of RIC-Schlieren type by the Bern-Lötschberg-Simplon (BLS), built in 1950 as series No 181 to No 192, based at Bönigen, the BLS main workshops near Interlaken, Canton of Bern, Switzerland.

After the exit signal has turned Green, the engine driver opens the regulator, whereupon freshsteam flows into the cylinders. Director Lean had always managed to stage railway sequences with virtuosity, but here the outer cylinder with Caprotti valve gear and the driving wheels of a Franco-Crosti boilered 'Prairie' of FS Class 683 can be seen. The five 1'C1'h4 tender locos made a strange visual impression with the two preheaters and the partial cladding, but at the time they were part of the standard traction for the 'Simplon-Orient Express'.

As the train leaves Santa Lucia station, Jane waves from the corridor window of the BLS light steel carriage in the direction of Renato, who has now reached the end of the platform waving back. In the distance the dome of San Simeone Piccolo is visible.