Summertime 1955

Jane Hudson Katharine Hepburn is an unmarried, middle-aged woman from Akron, Ohio, who freely calls herself a “fancy secretary” as she savors a long-cherished dream: a summer trip to Venice. She travels with a hopeful heart, saved for years, imagining the romance and mystery of the city afloat on the vaporetto toward a hotel that promises new warmth. On the way, she meets two fellow Americans, Lloyd McIlhenny MacDonald Parke and Edith McIlhenny Jane Rose, who become companions in this new chapter. At the Pensione Fiorini, a widow named Signora Fiorini Isa Miranda welcomes them, and the group is joined by Eddie Yaeger Darren McGavin, a young American painter, and his wife Phyl Yaeger Mari Aldon. A local boy, Mauro Gaetano Autiero, filches a smile and a banana of mischief, quietly nudging Jane’s first steps into the city’s rhythms.

That first Venetian evening, the Piazza San Marco seems to shimmer with newfound possibilities, and the sight of couples in perfect harmony makes Jane feel acutely alone. As she sits at a lively outdoor café, a lone Italian man fixes his gaze on her, a glance that makes her nerves flare and her breath catch. She bolts away, unsettled, yet the memory lingers as she ventures deeper into the city’s labyrinth of beauty and risk.

The next day brings a clue to one of Venice’s oldest mysteries. In a small antiques shop, Jane spots a vivid red glass goblet in the window and steps inside. The owner, Renato de Rossi Rossano Brazzi, reassures her that the goblet is a genuine 18th‑century artifact and walks her through the art of bargaining. She leaves with it, thrilled by the purchase and its promise of a continuing connection. Renato hints that he might search for a matching goblet, and Jane, eager for another encounter, returns the following day with Mauro. But Renato is not there, and to her mortification, she accidentally loses her balance and topples into a canal while filming his shop. She begs Mauro to take her back to Pensione Fiorini, bruised but not broken.

That night, Renato visits the pensione and confesses a more personal truth: he is attracted to Jane. She resists at first, wary of repeating past disappointments, yet he challenges her with a warning that she should not waste a chance at happiness. Just as she appears ready to say yes to dinner, the McIlhennys return from a Murano excursion, the couple having bought a set of new red goblets similar to the one Jane bought. Renato insists his goblet is authentic and assures her that the same designs have endured for centuries. Her anger softens, and the lure of a shared dream—plus the promise of a musical night in the Piazza—pulls her toward him.

That moonlit concert in the piazza, set to the overture of Rossini’s La gazza ladra, creates a magical stage for their burgeoning romance. A flower seller approaches, and Jane chooses a simple gardenia, a choice Renato accepts with a tender, almost astonished smile. As they wander Venice together, Jane’s gardenia slips from her grip and sinks into a canal, despite Renato’s every effort to retrieve it. They return to the pensione, where Renato’s kiss deepens their connection, and Jane sighs the words that have grown in her heart: > I love you.

The following day, Jane indulges in salon treatments and new clothes in anticipation of another evening with Renato. She waits at the piazza as, offscreen, a surprising revelation rocks the foundations of what she believes. Renato’s nephew—or so she’s led to think—Vito de Rossi [Jeremy Spenser] reveals that he is Renato’s son, and the truth blooms in one startling moment: Renato is married with several children. Stunned, Jane seeks refuge in a bar and confides in Phyl that a marriage between Eddie and Signora Fiorini has become a complicated affair. Renato answers with a hard truth of his own—things are different in Italy, and his own marriage is not a simple matter to untangle. He insists his relationship with Jane is not a private nuisance but a separate kind of happiness, and his insistence unsettles her even as it entices her. He accuses her of immaturity, urging her to accept what she can have rather than chase something unattainable. In the end, she chooses to go forward with him, and their night on an open-air courtyard, where they dance beneath the stars, seems to write a new line into her life. The pair move on to Renato’s home, where they consummate their relationship as fireworks glimmer in the distance.

Their days together drift across Burano in soft, dreamlike rhythms. Jane, feeling the inevitability of an ending she cannot fully accept, decides to return home early. Renato pleads with her to stay, but she believes it is better to leave a party before it ends. At the railway station, Mauro reappears, offering Jane a small gift as a blessing for the road ahead. When the train begins to move, Renato darts after it, the distance between them closing with a final gesture. He presses a package toward the train window, but the carriage rocks away too quickly; at last, he stops, opens the box, and lifts out a final gardenia, a symbol of a romance that has bloomed and then receded, leaving Jane with the memory of a summer that altered the course of her life.