Girl With A Suitcase YIFY

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.

Girl with a Suitcase YIFY

Sumuru , Shirley Eaton, is a gorgeous but evil woman who plans world domination by having her sexy all female army to eliminate male leaders. Her main purport is to replace them with her female agents, and eventually the male people to be used as slaves, while propagating the female genre . Along the way an allegedly swindler named Jeff Sutton , Richard Wyler , carries a suitcase with 10 million dollars , and a nasty ganster : George Sanders , as well as Sumuru , want to take it . Shorly after, Sumuru kidnaps Sutton and brings them to her headquarter : Femina. Then , the villain enemy with his local army invade the quarters in a modern Río de Janeiro . She is the most sadistic...diabolic..woman who ever lived!. She rules a palace of pleasure ...for women ! Where men are used in a diabolic plot to destroy civilization !.See this daring motion picture , never before exhibited A Carnivale of Sex and Violence from the director of Vampyros Lesbos and Eugenie . These are the future ..Based on a series of cult novels by Sam Rohmer, who also wrote Fumanchu, about a magalomaniac femme fatal who wants to rule over the World. This is the sequel to "The Milion Eyes of Sumuru" 1967 directed by Lindsay Shonteff with Shirley Eaton, George Nader , Frankie Avalon, Klaus Kinski, Wilfrid Hyde White , and followed many years later by "Sumuru" 2003 by Darrell Roodt with Alexandra Kamp, Michael Shanks . All of them were produced by British producer Harry Alan Towers who married to Austrian Maria Rohm , usual actress in his films and occassionally producer . This follow-up "The seven secrets of Sumuru" also has a good cast , being a British/Spanish coproduction here appears Brits as Shirley Eaton, Richard Wyler , and Spaniard players as Elisa Montes and Marta Revers . Again Shirley Eaton as the ruler Sumuru who schemes remove all the men who are currently in power and replace them with her army of beautiful women . Shirley reprised this role for amusement , as she said : I did enjoy being the wicked Lady in two rather bad movies , which I had not had the chance to be before , however, retiring from performing shortly afterwards . She is well accompanied by a lot of young girls , most of who are shown in skimpy mini skirls , light dresss and bikinis and they can all perform complex tasks . Stars the mediocre actor Richard Wyler who starred some Spaghetti Westerns , here he plays a roguish hero who turns a pawn in a confrontation between two nasty contenders while frees the damsel in distress .Regularly directed by Jesús Franco or Jess Frank with his usual tics , brands and botcher style . It contains a colorful and sunny cinematography by Manuel Merino shot on location in Museum Arte Modern Río Janeiro, Brazil, Barcelona, Catalonia and La Manga del Mar Menor, Murcia , Spain . As well as thrilling and peculiar musical score with strange sounds by Daniel White , Franco's regular . This is a run-of-the-mill Jess Frank made in medium budget with his common elements , such as erotism, nudism, masochist scenes , perversion, prisoners locked in glass cages and habitual zooms.

Jeff Sutton (Richard Wyler)shows up in Rio with a suitcase with 10 million stolen dollars. The money is wanted by both a crime boss (George Sanders) and by Sumitra (Shirley Eaton)who is building a female army by kidnapping wealthy people and taking this money. These are your typical female army with exposed legs and a woman's usual 24 inch waist.In one scene Jeff brings a gun to a knife fight, but then uses his fist. The film also has prisoners in glass cages, women being tortured, brief girl/girl action, and the worse soundtrack I have heard in a long time. There was a background buzz for much of the film, plus the music was horrible with terrible lyrics. The pink phone with the long extension cord that can be dragged through a swimming pool was funny. The film has a fair amount of camp value. Also known as "Rio 70" and "Future Women."Parental Guide: No f-bombs. Sex, nudity (Maria Rohm, Beni Cardoso)

Jeff Sutton (Richard Wyler) arrives in Rio de Janeiro with a suitcase with 10 million dollars, and the powerful mobster Sir Masius (George Sanders) sends his henchman Carl (Herbert Fleischmann) with his gangsters to follow Jeff and get the money. Jeff has one affair with the manicure Leslye (Maria Rohm) and succeeds to escape from Sir Masius' mobsters. Meanwhile, Sumuru (Shirley Eaton), the leader of the women of the City of Femina that wants to defeat the men and take over the world, captures Jeff and brings him to Femina expecting to get the money. Sumuru has several prisoners locked in glass cages, including Ulla Rossini (Martha Reves), who knows Jeff Sutton. Jeff discloses to Ulla that his arrival is part of a plan to save her from Sumuru. Jeff Sutton becomes a pawn in the middle of the war between Masius and Sumuru. "Die Sieben Männer der Sumuru" is another crazy exploitation with free nudity of beautiful women by Jess Franco, the true successor of Ed Wood regarding bad movies, including his muse Maria Rohm. The acting, plot, fight choreography and dialogs are ridiculous, mixing a senseless spy movie with a sort of low-budget sci-fi from the 50's. Most of the situations are laughable and ridiculous, but a criminal driving a "discreet" hearse is something that even Ed Wood had never imagined. It is sad only to see George Sanders, from "All about Eve", working in a film like that. For a "carioca" (native of Rio de Janeiro), it is hilarious to see our Modern Art Museum transformed in the Femina; or Sumuru a.k.a. Sumitra, called Samantha in the Brazilian version released by Continental Distributor in the Trash Collection. The good points are the footages of the carnival in Rio de Janeiro and the external takes of the Wonderful City in the late 60's. My vote is three.Title (Brazil): "A Garota do Rio" ("The Girl from Rio")

When this film first came out thirty-four years ago (which seems impossible) the college crowd I hung with absolutely loved it. I was delighted to see it come up on one of the cable movie channels recently and after watching it again after lo these many years I am delighted to be able to report that its wittily insightful commentary has lost none of its edge or relevance. The flick really does deserve a place in whatever Hall of Fame is dedicated to commentary on American culture. It really is a comedy, but it has just enough raw edges to give it some genuine bite. The pacing is handled very well, and we are able to develop a genuine interest in many of the characters. The movie never descends to grossness or imbecility, although - given the subject matter, a regional beauty competition - the opportunities are plentiful. Bruce Dern's character is wonderfully drawn; it would be so easy to portray him as a dolt, but he is shown as a sincerely well-meant guy, which is what makes his subtly characterized thoughtfulness at the end of the movie so effective. Interesting to see Melanie Griffith - at the age of 18! - in one of her earliest credited performances. My favorite character is Michael Kidd, the choreographer; cynical, bitter, yet a true professional, he seems the only one in the flick that really cares about the girls, yet he has no illusions about himself. There are just so many wonderful moments in this film - thanks to a brilliant script and great direction - that it deserves a place as a minor classic of Americana. 041b061a72