7.2/10
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Woman in the Window (1961)

La ragazza in vetrina (original title)
A romantic drama partially set in Amsterdam, the story starts out in a mining area in Holland where conditions are about as rough as they get. Two of the miners, Italians Federico (Lino ... See full summary »

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Cast

Credited cast:
...
Federico
...
Chanel
...
Else
Bernard Fresson ...
Vincenzo
Rest of cast listed alphabetically:
Antonio Badas
Roger Bernard
Peter Faber
Ingeborg Jonassen
Salvatore Lombardo
Giulio Mancini
Salvatore Tesoriero
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Storyline

A romantic drama partially set in Amsterdam, the story starts out in a mining area in Holland where conditions are about as rough as they get. Two of the miners, Italians Federico (Lino Ventura) and Vincenzo (Bernard Fresson) take off together for the city's red-light district, where the women pose in windows for prospective customers. There, the duo meets Else (Marina Vlady) and Carrel (Magali Noel) who are willing to leave their windows to spend a weekend at a resort with the two men. Soon Else falls in love with Vincenzo and the future of the two hookers, as well as of the miners, seems to look brighter. Written by Allmovie

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Drama

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Release Date:

14 April 1961 (Italy)  »

Also Known As:

Girl in the Window  »

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User Reviews

 
masterly human comedy
19 August 2012 | by (bangkok) – See all my reviews

A couple of coalminers take a weekend break in Amsterdam and hook up with some temperamental hookers.

A remarkable film in several ways. First, for the detailed coal mining scenes which take up the first half hour. We follow the first day of a new Italian recruit Bernard Fresson in a Mamburg mine. This is pretty eye-opening, especially now that coal mining is a thing of the past. They're wedged into crevices hacking into the stuff with hand-drills. Even in this inhuman environment the director very effectively manages to convey the good-natured stoicism of a number of characters.

It's an Italo-French production that chooses not to be particularly either, but takes an alienated position with people of different nationalities all having a hard time communicating with each other. The amount of stilted communication is remarkable in itself, giving the film a hesitant, uncertain tone that matches Fresson's diffident personality. In looks, Fresson is exactly half-way between Belmondo and Trintignant, and is as good as either of them.

His friend, mine foreman Lino Ventura - all mouth and trousers - takes him to Amsterdam to pick out a girl from their window displays. Uncertain semi-relationships develop, and awkward semi-comedic situations - or completely comedic, such as when Ventura goes into a gay bar by mistake.

Emmer is an absolute master at infusing every scene with quaint human dynamics loaded with sentimental meaning in a manner at once stylish and artless. They should be making documentaries about him, rather than self-publicising pretenders such as Truffaut.


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