What Terminal Station makes apparent is that neo-realism is not so much a style of filmmaking as a philosophy of the same... This excess is what makes Terminal Station so sublime. Naturally, Selznick cut out all of it.
De Sica gets furious, galvanic performances from Jones and Clift and captures them in closeups of a screen-piercing immediacy. Yet, yielding to habit, De Sica also embeds the lovers in a web of picturesque incidents that are mere distractions from the operatic passion of their romantic crisis.