7.7/10
1,528
11 user 15 critic

Girl with a Suitcase (1961)

La ragazza con la valigia (original title)
Lorenzo, who's 16 and born to a wealthy family in Parma, tries to make things right toward a showgirl, Aida, whom his older brother has mistreated. In extending kindness and standing up for... See full summary »

Director:

Valerio Zurlini

Writers:

Leonardo Benvenuti (story) (as Leo Benvenuti), Piero De Bernardi (story) | 8 more credits »
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1 win & 1 nomination. See more awards »

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Cast

Complete credited cast:
Claudia Cardinale ... Aida Zepponi
Jacques Perrin ... Lorenzo Fainardi
Luciana Angiolillo Luciana Angiolillo ... Aunt of Lorenzo
Renato Baldini ... Francia
Riccardo Garrone ... Romolo
Elsa Albani Elsa Albani ... Lucia
Corrado Pani ... Marcello Fainardi
Gian Maria Volontè ... Piero Benotti
Romolo Valli ... Don Pietro Introna
Enzo Garinei Enzo Garinei ... Pino
Ciccio Barbi Ciccio Barbi ... Crosia
Nadia Bianchi Nadia Bianchi ... Nuccia
Angela Portaluri Angela Portaluri
Edda Soligo Edda Soligo ... Teacher
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Storyline

Lorenzo, who's 16 and born to a wealthy family in Parma, tries to make things right toward a showgirl, Aida, whom his older brother has mistreated. In extending kindness and standing up for her, he comes of age. But, is there anything he can do that will alter Aida's situation or her prospects? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

Certificate:

See all certifications »
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Details

Country:

Italy | France

Language:

Italian

Release Date:

11 September 1961 (USA) See more »

Also Known As:

Girl with a Suitcase See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Italian censorship visa # 33890 delivered on 18-1-1961. See more »

Goofs

In the opening scene when Aida takes an emergency bathroom break in the ditch, there is a noticeable paper cup like white object in the middle of the road. It comes and goes and moves around. See more »

Connections

Featured in Hep Taxi!: Claudia Cardinale See more »

Soundtracks

Tequila
Written by Chuck Río and Aldo Locatelli
See more »

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User Reviews

 
lost souls caught up in the existential angst
28 March 2001 | by cranesareflyingSee all my reviews

Zurlini introduces a familiar theme, a futile relationship with an older woman and a younger man, perfected in his later film `Violent Summer,' but here Aida, Claudia Cardinale, plays a nighclub singer who is jilted in the opening moments of the film and spends the rest of the film searching for a way out of the stereotypical relationship of a beautiful woman using, and being used by men, a dependent and unhealthy relationship. When Marcello, a cad who lives in a lavish estate, tells his 16 year old younger Lorenzo, Jacques Perrin, to get rid of the girl, the younger brother's interest turns from bewilderment to unbridled obsession, as the high-strung, free-spirited girl surprisingly is flattered by his attention and by her belief that he has money, contrasting the obvious class distinction between the two, he lives in a statue-filled estate with his family, she lives alone out of a suitcase in a hotel room. The adults in the film are overly stern and heartless, represented by the familiar Zurlini statues which can be seen throughout his entire body of work; this lifelessness is contrasted against the passion of youth. The relationship comes to a screeching halt with the intervention of the family priest who questions Aida's motives with such a young and impressionable boy, urging her to move on. This is a brilliant scene where they speak in what appears to be a museum construction area, broken statues lie about with other scattered debris as the priest tries to reconstruct the spiritual direction of the young lovers, urging them to go their separate ways. This leads Aida into the arms of another conniving man who attempts to seduce her with plenty of money and alcohol, but Lorenzo arrives, refuses to butt out, gets his butt kicked by the older man, which leads to this extraordinarily long, beautifully evolving scene on the beach where the two lovers are caught up in the mysteries of their own futility, a kind of existential despair, surrounded by the wonderment of nature. This film constantly shifts the focus on who is the victim and who is to blame, in the end there are no answers, just a continuous search.


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