Class Trip #10 | The Girl with the Suitcase (Zurlini, 1961)

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traz
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Joined: Fri Feb 19, 2010 12:43 am

Re: Class Trip #10 | The Girl with the Suitcase (Zurlini, 1961)

Post by traz » Wed Jun 05, 2013 2:03 am

it's just because jedi is so dreamy and romatic about films such as these

make me happy
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snapper
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Re: Class Trip #10 | The Girl with the Suitcase (Zurlini, 19

Post by snapper » Fri May 05, 2017 1:42 pm

Just finished this, my last remaining Class Trip blindspot (four years on) - really enjoyed it. This kind of filmmaking - European character-driven dramas from this time, mature in outlook and treatment and halfway between the poetic and neo realisms with a heavy Hollywood influence in their storytelling, the kind of movie that seems engineered to be called Good - isn't really popular anymore and especially not here but I quite enjoy them sometimes. This wrings a great deal of pathos out of its story, finding a lot of of complexity and shading in what could pass as a modern rom-com plot. There's a subtle visual style that is restrained on the whole but finds poetry in moments of striking a/symmetry, low-key lighting and attention to patterns of light and shadow in otherwise mundane environments. And Zurlini's dramatic style is fascinating - the films seem stately but the characters are driven by passionate desperation (for love, for money, for a life better than the ones they have, etc) that is refracted onto everything else in the film, in some sequences leaving the actors as the eyes of a formal storm. This in particular reminds me of Sirk, and brings to mind some of his Italian contemporaries such as Antonioni (of course, but Zurlini is obviously far more of a classicist) and Pietrangeli (who, however, spends less time having his players stand and gaze at each other). It's overlong though, and Zurlini overplays his hand with some of the 'featured' sequences you can tell he poured his energy into (the ballroom patio scene is indulged a tad too much and is almost an exact thematic reversal of a very similarly staged scene in Violent Summer, which I think is better). Jacques Perrin 'gets' his character and does his role well but Claudia Cardinale is a great surprise - I didn't know she was this talented an actor. She's bruised, coarse and invariably alive throughout, who cares about the awkward postdubbing.
Latest notable first-time viewings:

* The Sun in a Net / Uher
** The Seashell and the Clergyman / Dulac
The Tales of Beatrix Potter / Mills
* A Flood in Ba'ath Country / Amiralay
Times and Winds / Erdem
Most Beautiful Island / Asensio
* Japanese Girls Never Die / Matsui
* Birth Certificate / Różewicz
Bush Mama / Gerima
** Paris Is Burning / Livingston


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