Both versions are included on Criterion's magnificent DVD, allowing latter-day viewers a revealing comparison/contrast between Selznick's commercial taste (glossy and sentimental) and De Sica's artistic vision. Indiscretion turns Jones's overwrought character into a dimensionless focus of guilt and shame, lacking the moral depth of Terminal Station, in which her dilemma is more compellingly explored. Inevitably, only De Sica's version achieves Selznick's original goal: It's a remarkable hybrid of neorealism (with its authentic setting populated by people of all classes, subtly affecting the story) and Selznick's heavy-handed moralizing (with a partial dialogue polish by Truman Capote). Commentary by film scholar Leonard Leff and liner notes by critic Dave Kehr further illuminate this clash of formidable talents, illustrating how both films, gloriously restored, serve the divergent purposes of their creators. --Jeff Shannon