A Moça com a Valise

Although Claudia Cardinale didn't achieve Sophia Loren's renown, there's no denying that she's an equally great actress. An example is "La ragazza con la valigia" ("Girl with a Suitcase" in English). The subtlety that Valerio Zurlini instills in the movie helps move this story of an accidental love triangle along at just the right pace.

It's the sort of movie that deserves a lot more recognition (especially given the current glut of franchise-driven cinema). I'm now hungry for other movies directed by Zurlini, or other Italian movies from this era. In the meantime, it's definitely a movie that you should see.

This somewhat mediocre and meandering melodramatic film by Zurlini features Claudia Cardinale at her most exquisitely beautiful in every shot and what shots! Beautiful long takes that allow you to concentrate on whatever you want. Tino Santoni is a hell of cinematographer, whoever he was, a total master. If the script had been a little bit better the film might've ended up transcending into a superpoetic realm like Zurlini's awesome technicolor 1962 film "Family Diary"; as it is, it's very much a failure in an overall sense but still pretty good as probably the ultimate ode to one of the most beautiful actresses in cinematic history.

... 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.

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.

One of Cardinale's defining work in her early career, GIRL WITH A SUITCASE is director Zurlini's second feature, an eye-pleasing Black-and-White melodrama centres on the dead-end obsession, which a young rich boy Lorenzo (Perrin) projects on Aida (Cardinale), a penniless nightclub showgirl, who has been dumped by his elder brother Marcello (Pani).

In the movie, Lorenzo is a 16-year-older, having barely arrived puberty, Aida is his first crush, which symbolises the most innocent and pure affection a boy must experience once-in-a-lifetime, propelled by unquenchable impulse, he is willing to do anything for her, and will surely swallow the bitter taste since their relationship can bear no fruition, the age barrier, the class disparity, all appear too formidable for Lorenzo to overcome, and Lorenzo is so good-natured and is too obedient to rebel against the unfair and prejudiced society. When we are young, we might meet the right person in the wrong time, maybe this is what Zurlini wants us to ruminate on.

But more relevant to contemporary audience, the film tends to be preferably reckoned as a strong showcase for Cardinale, debatably the very first one for her to stretch her limit as an actress in spite of her drop-dead sex appeal. Also later it reveals that Aida has been entering motherhood in a fairly early age, which mirrors Cardinale's own turbulent personal life of being a mother at the age of 19. Her Aida is a sultry damsel-in-distress, but the reality offers her no prince-charming, only leery chancers want to physically overtake her, in a critical point, she has no alternative other than agreeing to prostitute herself, we should feel empathetic to her, but that feeling is not well- sustained, since Aida is clearly aware of Lorenzo's blind fixation, and she has no qualms to cash in on it, and being brutally honest about their doomed future. The script dangles sluggishly in the cul-de-sac, to an extent of being patience-testingly sentimental, the two-handers between Cardinale and Perrin often oscillate between generic theatrics and amateurish spontaneity sans scintillating chemistry, which inadequately sets the tenor in a lukewarm limbo.

On the plus side, the film occasionally coruscates with its dashing panning camera movements, indicates that DP Santoni is a master-hand behind it; also the soundtrack is a winsome collage of classic pieces frequently played with harpsichord, builds up a solemn mood for the harsh reality where money becomes the only opt-out for something intrinsically superior to all the material concerns.