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IMDbPro

La muchacha de la valija

Título original: La ragazza con la valigia
  • 1961
  • 2h 1min
CALIFICACIÓN DE IMDb
7.4/10
2.7 k
TU CALIFICACIÓN
Claudia Cardinale in La muchacha de la valija (1961)
DramaRomance

La joven e ingenua Aida, desechada por el acaudalado Marcelo tras una pocas noche de pasión y promesas vacías, traba relación con Lorenzo, el hermano menor de este. La mutua simpatía pronto ... Leer todoLa joven e ingenua Aida, desechada por el acaudalado Marcelo tras una pocas noche de pasión y promesas vacías, traba relación con Lorenzo, el hermano menor de este. La mutua simpatía pronto se convierte en un amor rodeado de obstáculos.La joven e ingenua Aida, desechada por el acaudalado Marcelo tras una pocas noche de pasión y promesas vacías, traba relación con Lorenzo, el hermano menor de este. La mutua simpatía pronto se convierte en un amor rodeado de obstáculos.

  • Dirección
    • Valerio Zurlini
  • Guionistas
    • Leonardo Benvenuti
    • Piero De Bernardi
    • Enrico Medioli
  • Elenco
    • Claudia Cardinale
    • Jacques Perrin
    • Luciana Angiolillo
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.4/10
    2.7 k
    TU CALIFICACIÓN
    • Dirección
      • Valerio Zurlini
    • Guionistas
      • Leonardo Benvenuti
      • Piero De Bernardi
      • Enrico Medioli
    • Elenco
      • Claudia Cardinale
      • Jacques Perrin
      • Luciana Angiolillo
    • 17Opiniones de los usuarios
    • 24Opiniones de los críticos
  • Ver la información de producción en IMDbPro
  • Ver la información de producción en IMDbPro
    • Premios
      • 1 premio ganado y 1 nominación en total

    Fotos129

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    Elenco principal14

    Editar
    Claudia Cardinale
    Claudia Cardinale
    • Aida Zepponi
    Jacques Perrin
    Jacques Perrin
    • Lorenzo Fainardi
    Luciana Angiolillo
    Luciana Angiolillo
    • Aunt of Lorenzo
    Renato Baldini
    Renato Baldini
    • Francia
    Riccardo Garrone
    Riccardo Garrone
    • Romolo
    Corrado Pani
    Corrado Pani
    • Marcello Fainardi
    Gian Maria Volontè
    Gian Maria Volontè
    • Piero Benotti
    • (as Gianmaria Volontè)
    Romolo Valli
    Romolo Valli
    • Don Pietro Introna
    Elsa Albani
    Elsa Albani
    • Lucia
    Enzo Garinei
    Enzo Garinei
    • Pino
    Ciccio Barbi
    Ciccio Barbi
    • Crosia
    Nadia Bianchi
    • Nuccia
    Angela Portaluri
    Edda Soligo
    • Teacher
    • (sin créditos)
    • Dirección
      • Valerio Zurlini
    • Guionistas
      • Leonardo Benvenuti
      • Piero De Bernardi
      • Enrico Medioli
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios17

    7.42.6K
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    Opiniones destacadas

    federovsky

    Beauty of deeper glance

    There are moments in this film when you feel your feet lift of the ground and you enter a pure state of movie nirvana. Only the Italians could bring together style, elegance, poise, wit, sensitivity and irony like this, and play it out in the real world with real characters. The amour fou seems original: the sensitive ingenue is nobility (Jacques Perrin), while the girl (Claudia Cardinale) - his older brother's cast-off - is an impoverished drifter. It's not so much the obvious contrast in their backgrounds that provides the tension so much as the directions their yearnings take, that flash across each others' paths like ungainly swordsmanship. The fresh faces of the leads are a delight. It's really the quiet dignity of Perrin that carries the film while Cardinale is the sudden whirlwind that blows into his life. Technique is employed to brilliant effect: the waist-level camera, Zurlini's signature artistic shadows on the walls, and, most tellingly, the way distant characters gradually draw close to our position, a trick established with the first shot of the film. There's no finer kind of cinema.
    7frankde-jong

    Cardinale at her very best

    Valerio Zurlini (1926 - 1982) is a somewhat forgotten director with a small oeuvre (8 films).

    In "Girl with a suitcase" the 16 years old Lorenzo Fainardi (Jacques Perrin) falls madly in love with Aida Zepponi (Claudia Cardinale) who has been dumped by his older brother. This older brother has started a brief affaire with Aida by promising her a film career.

    During most of the film Lorenzo seems to be the victim of the opportunistic Aida, who gladly accepts his gifts and monetary donations. In a key scene a priest, as a sort of oral conscience, reproaches her for this behaviour.

    The real tragic character however is Aida herself, who is using but also being used by men and therefore very dependent on them. We see this very clearly in the beautiful final scene.

    The film starts very slow and only gets underway in the second half. Claudia Cardinale, who was at the peak of her career ("Rocco and his brothers", 1960, Luchino Visconti / "8,5", 1963, Federico Fellini / "Il gattopardo", 1963, Luchino Visconti), really makes this film.
    8cranesareflying

    lost souls caught up in the existential angst

    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.
    8dat010203

    Very nice film, two great performances

    I have news for you. Claudia, as beautiful as she is, is not the most beautiful person in this film. That would be Jacque Perrin. He was 19 when the film was made (his character is 16), and the camera lingers on him in scene after scene.

    The story is simple: Perrin's character falls for Claudia. She's an adult, he's not. She's poor, he's nobility.

    Perrin's understated performance is a dead-on portrait of adolescent longing. His eyes tell the whole story. It's difficult to imagine that any man could watch him without experiencing flashbacks to his own adolescence. He doesn't know whether to hope, or not, but he can't help hoping anyway. He doesn't know anything about adult courtship, so he improvises as he goes along. He's unfailingly, achingly, kind and polite (see first clause, previous sentence). He's brave, as he pushes against, and sometimes breaks, the rules that bind a young man not yet old enough to make his own rules.

    Claudia, meanwhile, also provides a deeply thought performance, as a young woman whose poverty constrains her every move. She wants some tiny measure of security-- her fear of of the very real possibility of being out on the streets in palpable. She has no way to reach safety without depending on a man, but men have been awful to her. And, she wants desperately not to cross the final line of degradation and become a whore. She'll take money, but only if she can satisfy herself that it is a gift-- that is, only if she can feel that she still has some measure of choice in what happens next. Several men, including Perrin, are trying to "help" her. We see her hesitate, and calculate, in almost every conversation: trying to decide if the safety offered is real, calculating what she will have to give up if she accepts. Claudia is not in glamor mode here: she is beautiful, and the men are swarming around her, but her clothes are cheap, and she's living out of her suitcase.

    This is a fine film, but it's not likely to be in anyone's top ten. I think most people will find it moving and well worth watching.

    Why not a GREAT film? I think this is not so much because of particular flaws of the film, as because of its modest dimensions. The film is not trying to make a grand statement. It delivers deeply felt and moving drama, and two completely believable and interesting characters. Enough for me. P.S.: On the dubbed version, the voicing is surprisingly good.
    Jep_Gambardella

    I'll comment on one single scene...

    ... the one where Lorenzo watches Aida dancing with that older man. She was supposed to go to the movies with him but she chose to have dinner with a group of other guests at the hotel, and after dinner they start partying and dancing. At one point there is a close-up of Lorenzo that lasts for at least one minute. He looks at them dancing, looks away, takes a sip from his drink, fidgets, with all these different expressions on his face: jealousy, frustration, anger, discomfort, despair. No dialogue. Wonderfully acted and directed. That scene is worth more than all car chase sequences since the beginning of Cinema put together.

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      In 2008, the film was selected to enter the list of the 100 Italian films to be saved (100 film italiani da salvare). The list was created with the aim to report "100 films that have changed the collective memory of the country between 1942 and 1978". The project was established by the Venice Days ("Giornate degli Autori") in the Venice Film Festival, in collaboration with Cinecittà Holding and with the support of the Ministry of Cultural Heritage.
    • Errores
      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.
    • Citas

      Don Pietro Introna: I'd like to talk.

      Aida Zepponi: To me?

      Don Pietro Introna: Yes, you. Where can we go? The museum, no one ever goes there.

    • Conexiones
      Featured in Hep Taxi !: Claudia Cardinale (2017)
    • Bandas sonoras
      'Celeste Aida' from 'Aida'
      Composed by Giuseppe Verdi (as G. Verdi)

      Sung by Beniamino Gigli

      Courtesy of Ricordi

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    Preguntas Frecuentes16

    • How long is Girl with a Suitcase?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 16 de octubre de 1964 (México)
    • Países de origen
      • Italia
      • Francia
    • Idiomas
      • Italiano
      • Latín
    • También se conoce como
      • Girl with a Suitcase
    • Locaciones de filmación
      • Villa Levi-Tedeschi - Via Emilia Ovest, San Pancrazio Parmense, Parma, Emilia-Romagna, Italia(Villa Fainardi)
    • Productoras
      • Titanus
      • Société Générale de Cinématographie (S.G.C.)
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

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    • Total a nivel mundial
      • USD 5,236
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

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    • Tiempo de ejecución
      • 2h 1min(121 min)
    • Color
      • Black and White
    • Relación de aspecto
      • 1.85 : 1

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