Claudia Cardinale
Claudia Cardinale | |
---|---|
Born | Claude Joséphine Rose Cardinale 15 April 1938 |
Nationality | Italian |
Occupation | Actress |
Years active | 1957–present |
Partners |
|
Children | 2 |
Relatives | Francesca Cardinale (niece) |
Website | official-claudiacardinale |
Claude Joséphine Rose Cardinale (French: [klod ʒozefin ʁoz kaʁdinal]; born 15 April 1938), known as Claudia Cardinale (Italian: [ˈklaudja kardiˈnaːle]), is an Italian actress.
Born and raised in La Goulette, a neighbourhood of Tunis, Cardinale won the "Most Beautiful Italian Girl in Tunisia" competition in 1957, the prize being a trip to Italy, which quickly led to film contracts, due above all to the involvement of Franco Cristaldi, who acted as her mentor for a number of years and later married her. After making her debut in a minor role with the Egyptian star Omar Sharif in Goha (1958), Cardinale became one of the best-known actresses in Italy with roles in films such as Rocco and His Brothers (1960), Girl with a Suitcase (1961), Cartouche (1962), The Leopard (1963), and Fellini's 8½ (1963).[a]
From 1963, Cardinale appeared in The Pink Panther opposite David Niven. She went on to appear in the Hollywood films Blindfold (1965), Lost Command (1966), The Professionals (1966), Don't Make Waves (1967) with Tony Curtis, The Hell with Heroes (1968), and the Sergio Leone Western Once Upon a Time in the West (1968), a joint US-Italian production, in which she was praised for her role as a former prostitute opposite Jason Robards, Charles Bronson, and Henry Fonda.
Jaded with the Hollywood film industry and not wanting to become a cliché, Cardinale returned to Italian and French cinema, and garnered the David di Donatello for Best Actress award for her roles in Il giorno della civetta (1968) and as a prostitute alongside Alberto Sordi in A Girl in Australia (1971). In 1974, Cardinale met director Pasquale Squitieri, who would become her partner, and she frequently featured in his films, including I guappi (1974), Corleone (1978) and Claretta (1984), the last of which won her the Nastro d'Argento Award for Best Actress. In 1982, she starred in Werner Herzog's Fitzcarraldo as the love interest of Klaus Kinski, who raises the funds to buy a steamship in Peru. In 2010, Cardinale received the Best Actress Award at the 47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student in Signora Enrica.
Outspoken on women's rights causes over the years, Cardinale has been a UNESCO goodwill ambassador for the Defence of Women's Rights since March 2000. In February 2011, the Los Angeles Times Magazine named Cardinale among the 50 most beautiful women in film history.
Early life
Claudia Cardinale was born Claude Joséphine Rose Cardinale in La Goulette, a neighbourhood of Tunis, Tunisia, on 15 April 1938.[4][5] Her father Francesco Cardinale was a railway worker, born in Gela, Sicily.[6] Her mother Yolande Greco, also born in Tunisia, had parents who were Sicilian emigrants from Trapani[6] who had a small shipbuilding firm in Trapani. They later settled in La Goulette, which had a large Italian community. Her native languages were French, Tunisian Arabic, and the Sicilian language of her parents. She did not learn to speak Italian until she had already begun to be cast for Italian films.[7]
Cardinale was educated at the Saint-Joseph-de-l'Apparition school of Carthage, which she attended along with her younger sister Blanche.[8] She then studied at the Paul Cambon School, graduating with the intention of becoming a teacher.[9] As a teenager, she was described as "silent, weird, and wild", and like other girls of her generation, was fascinated by Brigitte Bardot, who came to prominence in the 1956 film And God Created Woman, directed by Roger Vadim.[10]
Career
1950s
Cardinale's first film work was participating, along with classmates, in a short film by French director
Back in Tunis, however, Cardinale discovered unexpectedly that she was pregnant, the result of what she later described as a "terrible" relationship with a Frenchman, some 10 years her senior, which began when she was only 17 and lasted for about a year. On this discovery, he wanted her to have an abortion, but she decided to keep the child.[19] She solved her problems by signing a seven-year exclusive contract with Franco Cristaldi's production company Vides.[20][21][c] Cristaldi largely managed her early career, and she was married to him from 1966 until 1975.[22]
Under the new contract, in 1958, Cardinale was given a minor role with Italian actors Vittorio Gassman, Totò, Marcello Mastroianni, and Renato Salvatori in Mario Monicelli's internationally successful criminal comedy Big Deal on Madonna Street (I soliti ignoti).[23] She portrayed Carmelita, a Sicilian girl virtually imprisoned in her home by her overpowering brother. The comedy was a huge success, making Cardinale instantly recognisable. Some newspapers were already referring to her as "la fidanzata d'Italia" (Italy's sweetheart).[24] Later that year, she had a leading role opposite Yvonne Monlaur in Claudio Gora's romantic comedy Three Strangers in Rome.[25]
Although she worked well into her seventh month, Cardinale's pregnancy was kept a tight secret. Tormented by thoughts of suicide, she fell into a state of depression.[26] When she thought she could no longer hide her condition, she asked Cristaldi to terminate her contract. Understanding her predicament, he sent her to London for the birth, far away from the press. He simply explained that she had gone to England to learn English for a film.[27] Cristaldi told Cardinale not to reveal her condition as she would be betraying the public and it would put an end to her career. So as to maintain the secret, he drew up a detailed American-style contract covering every little detail of her life, depriving her of any possibility of acting on her own behalf.[28] Cardinale explained: "I was no longer master of my own body or thoughts. Even talking with a friend about anything that could make me look different from my public image was risky, as if it had been publicized, I would have been in trouble. Everything was in the hands of Vides".[29] For seven years, Cardinale kept her secret, not only from the public but also from her own son, Patrick, who grew up in the family with her parents and sister more or less as a brother[30] until the day Enzo Biagi, a journalist, discovered the truth. After Cardinale decided to tell him everything, he published her story in Oggi and L'Europeo.[31]
In 1959, she appeared opposite Salvatori in the mafia film
1960s
In 1960, Cardinale starred opposite Marcello Mastroianni in Mauro Bolognini's Golden Leopard-winning drama film Il bell'Antonio.[37] The film marked the start of a fruitful partnership. Cardinale stated that her films with Bolognini were among the most joyful of her career, considering him to be "a great director, a man of rare professional capability, great taste and culture. Beyond that, for me personally, a sensitive and sincere friend."[38] In Bolognini's films, thanks to her aesthetic femininity, Cardinale took roles of manipulative women who lead men to perdition. During the filming of Il bell'Antonio, her co-star Marcello Mastroianni fell in love with her, but she rejected him, as she did not take his love seriously, considering him to be one of those actors who cannot help but fall in love with their co-stars.[39] Mastroianni insisted that his feelings were genuine, even after many years.[40] The genuine empathy between the two actors proved to be ideal for reproducing the tension between the characters in the film. Cardinale next portrayed Pauline Bonaparte in Abel Gance's French film Napoleone ad Austerlitz,[41] and after appearing opposite Gassman and Salvatori in the sequel to Big Deal on Madonna Street, Audace colpo dei soliti ignoti, she portrayed Ginetta, the fiancée of Spiros Focás, alongside Salvatori and Alain Delon in Luchino Visconti's critically acclaimed Rocco and His Brothers.[42] However, her leading performance in Francesco Maselli's Silver Spoon Set gained her most attention during this period.[23] Francesco Freda felt the film paved her way "to great success", noting the "sweetness of her smile" which struck a chord with the public.[43]
In 1961, Cardinale portrayed a sultry
The following year, Cardinale starred opposite Jean-Paul Belmondo as Vénus in the 18th-century set adventure Cartouche, which made her a major star in France.[51] She also played Angiolina, the romantic interest of Anthony Franciosa in Bolognini's Senilità, a character which film writer Jacek Klinowski describes as "a spirited and strikingly beautiful twenty-year-old".[52] In 1962, Cardinale was interviewed by the writer Alberto Moravia, who focused exclusively on her sexuality and body image in films, treating her as an object. Cardinale remarked to him: "I used my body as a mask, as a representation of myself".[53] The interview was published in Esquire under the title "The Next Goddess of Love". Cardinale was amused to discover that the interview had inspired the writer to publish La dea dell'amore ("Goddess of Love") the following year, in which one of the characters, with her fine physical appearance and natural curves, closely resembled Cardinale.[53] Just a few years later, she played a similar character in a film based on another novel by Moravia, Time of Indifference.[54]
The finest and most prolific year of her career was 1963, when she appeared in a number of leading productions.[55] She starred alongside Burt Lancaster in Visconti's The Leopard (1963) (Il Gattopardo), portraying a village girl who married a progressive young aristocrat (Alain Delon), and played a film actress cast by a director (Marcello Mastroianni) in Federico Fellini's 8½. Both films were critically acclaimed and are often cited by critics and scholars as among the greatest films ever made.[56][57] She participated in the two films during exactly the same period, frequently moving from one to the other and experiencing the strictly planned approach of Visconti which contrasted strongly with Fellini's much more relaxed style and his almost total reliance on improvisation.[58] Cardinale remembered Visconti's set as having an almost religious atmosphere, everything focused on the film, far removed from the outside world. Visconti needed silence for his work while Fellini preferred noise and confusion.[59]
Prior to this period, Cardinale's own voice had not been used in her Italian films, as it was considered too hoarse, and owing to her French accent, insufficiently Italian.[60][61] Not until 8½ was she allowed to use her own voice.[60][62] Cardinale explained: "When I arrived for my first movie, I couldn't speak a word. I thought I was on the moon. I couldn't understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice."[58] With her portrayal of Angelica in The Leopard and her brief appearance as herself in 8½, Cardinale achieved the definitive status of a top-ranking star.[63]
The same year, Cardinale starred as Mara in La ragazza di Bube or Bebo's Girl,[64] in which she also used her own voice. For her performance in the film, she received her first Nastro d'Argento for Best Actress in 1965.[65] Cardinale acted in her first American film (although it was produced in Italy) when she played Princess Dala, a wealthy aristocratic woman who is the love and jewellery interest of David Niven in the Cortina d'Ampezzo-set The Pink Panther. Cardinale's voice in the film was dubbed by Gale Garnett, who went uncredited.[66] Niven raved about working with the actress, telling her, "After spaghetti, you're Italy's happiest invention."[67]
In 1964, Cardinale starred alongside
She first starred in the Henry Hathaway's Hollywood picture Circus World (1964) opposite John Wayne and Rita Hayworth, playing the daughter of Hayworth, who performs with her as a mother-daughter circus act.[69] By the end of the decade, she had returned to making films primarily in Italy, accepting a pay cut, turning her back on Hollywood stardom. Cardinale has further said, "I don't like the star system. I'm a normal person. I like to live in Europe. I mean, I've been going to Hollywood many, many times, but I didn't want to sign a contract."[70] Film writer David Simpson notes that as a result, "Cardinale never achieved the same level of fame as Loren and Gina Lollobrigida", although she appeared in a higher number of decent films.[71]
In 1964, she also played the lead role in
By 1966, Cardinale was being cited as the most popular film star in Italy, even more than Mastroianni and Loren.[61] Life stated that "the Cardinale appeal is a blend of solid simplicity and radiant sensuality. It moves men all over the world to imagine her both as an exciting mistress and wife."[61] However, following her success in Hollywood, she began to express concerns about the direction of her career. In a July 1966 interview with Life, she confessed her fear of being overglamourized and exploited, like Sophia Loren, and although she had several further US films lined up, stated: "If I have to give up the money, I give it up. I do not want to become a cliché."[61]
In 1966, a photograph of Cardinale was featured in the original gatefold artwork to
At the beginning of 1967, Cristaldi joined her in the United States. While the two were staying in Atlanta, he surprised her by taking her to their wedding ceremony which he had arranged without her knowledge. She went ahead with the ceremony but was concerned about sacrificing the rights she had to her child Patrick. She also realised she was increasingly unable to make decisions about her own life.[82] The marriage was never made official in Italy.[83]
In 1968, Cardinale featured opposite
1970s
In 1970, Cardinale starred opposite
In 1975, Cardinale played the daughter of a political exile (Adolfo Celi) in Mauro Bolognini's Libera, My Love, a character who becomes "increasingly incensed by the fascist government of Italy and makes a number of bold and very personal gestures against it".[92] Later that year she appeared in the comedies The Immortal Bachelor with Vittorio Gassman and Blonde in Black Leather with Monica Vitti. Vitti's biographer noted how Cardinale and Vitti stood out as the female duo in a predominantly masculine cast.[93]
In 1976, Cardinale appeared in the sex comedy
1980s
After a role in
In 1983, Cardinale had a role in the
In 1986, Cardinale was involved in the making of two films for television. In Comencini's
1990s
In 1990, Cardinale starred opposite Bruno Cremer in Squitieri's Atto di dolore, and appeared in the Morocco-set Soviet-Italian production, La battaglia dei tre tamburi di fuoco.[115] In 1991, Cardinale featured alongside
In 1997, Cardinale featured in the British-Italian television drama miniseries
2000s
In 2000, Cardinale embarked on her stage career, starring in
She also appeared in her husband's television film, Élisabeth - Ils sont tous nos enfants. Two years later, Cardinale went on a theatrical tour of Italy, performing in Luigi Pirandello's Come tu mi vuoi, which Squitieri directed. She appeared as what Roger Ebert described as a "faded countess" opposite Jeremy Irons in Claude Lelouch's thriller film And Now... Ladies and Gentlemen,[125] portraying a character who spends her time in Fez, Morocco, with handsome gigolos.[126] The film was screened out of competition at the 2002 Cannes Film Festival.[127] And Now... Ladies and Gentlemen received mixed reviews; A. O. Scott of The New York Times dismissed it as "sublimely silly", but praised the "impeccable CinemaScope compositions" and the "lush, suave score" by Michel Legrand.[126]In 2005, Cardinale appeared in a Philippe Adrien stage production of Tennessee Williams's Sweet Bird of Youth, and in the 2006/2007 season also featured in another Williams play, The Glass Menagerie, directed by Andrea Liberovici, in which she played the character of Amanda.[128] In 2007, Cardinale appeared in the Aline Issermann comedy film Cherche fiancé tous frais payés, opposite Alexandra Lamy and Bruno Salomone,[129] in a role which Patrick Besson described as "atrocious".[130] After a role in the TV movie Hold-up à l'italienne (2008), the following year Cardinale starred in the critically acclaimed The String, playing a Tunisian mother who has a tempestuous relationship with her French-educated gay son.[131] Michael D. Klemm of cinemaqueer.com reflected on how the film broke many of the taboos with interracial sexuality and homosexuality. He praised Cardinale's "terrific" acting and portrayal of the "overbearing" mother, likening one scene, where she "brings home a nice girl for Malik (Antonin Stahly) to meet", to Harold and Maude (1971).[132]
2010s
In 2010, Cardinale received the Golden Orange Best Actress Award at the
In 2012, Cardinale featured opposite
On 11 October 2018 she received the Tabernas de Cine award in the Almería Western Film Festival.[142]
2020s
In 2020, Cardinale headlined the Swiss miniseries Bulle. Later that year, she had a role in the Netflix film Rogue City. In its debut weekend, it was the second most-streamed film on the site.[143]
Personal life
Claudia Cardinale met the Italian film producer Franco Cristaldi in 1958.[21] According to Cardinale, the couple had a marriage party but did not marry,[144] and they became increasingly detached. Cristaldi later married Zeudi Araya and had no further relationship with Cardinale.[145]
Cardinale lived with Pasquale Squitieri, an Italian film director, for 42 years, from 1975[146] until Squitieri died on 18 February 2017, aged 78.[147]
Cardinale has two children: Patrick, who was born when she was 19 and later adopted by Cristaldi,[148] and Claudia,[149] whom she had with Squitieri.
Cardinale is fluent in Arabic, French, Italian, English, and Spanish.[150] Her niece Francesca is also an actress.[151]
Cardinale is a political liberal who has supported
Cardinale published an autobiography with Anne Mori, Io Claudia, Tu Claudia, in 1995.
Filmography
References
Notes
- ^ Rocco and His Brothers, The Leopard and 8½ in particular are frequently ranked by directors and critics as among the greatest films ever made.[1][2][3]
- ^ The beauty contest was meant to raise money for charity; Cardinale's mother was on the charity committee. She says she was pushed on stage by someone while she was helping with the arrangements and was declared the winner.[16] At the time, Cardinale had her teacher's certificate and hoped to teach in a Tunisian desert town.[17] Since Cardinale wanted to become a teacher, she was not interested in the many film contracts offered her during her visit to Venice. The offers followed her after her return to Tunisia.[18]
- ^ Cristaldi offered Cardinale the contract without a screen test. The contract contained many stipulations which Cardinale was expected to adhere to while Cristaldi groomed her.[18]
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: CS1 maint: multiple names: authors list (link) - ^ Cardinale & Mori 1995, p. 59.
- ^
- Brady, Tara (17 February 2016). "Claudia Cardinale: 'Usually you live only one life. But I have lived 154 lives'". The Irish Times. Retrieved 12 August 2020.
- "Italian screen siren Claudia Cardinale turns eighty in style". The Local IT. 14 April 2018. Retrieved 12 August 2020.
- Gani, Martin (10 April 2012). "Interview with Claudia Cardinale". Italy Magazine. Retrieved 12 August 2020.
- ^ "Lutto nel cinema: è morto Squitieri, sceneggiatore e regista". Il Mattino (in Italian). 18 February 2017. Retrieved 12 April 2020.
- ^ "Film Star Reveals Secret of Baby Son". The Sun Herald. 16 April 1967.
- ^ "Interview with Claudia Cardinale". Italy Magazine. 10 April 2012. Archived from the original on 4 August 2015. Retrieved 5 July 2015.
- ^ "Claudia Cardinale: Biography". Internet Movie Database. Archived from the original on 20 November 2015. Retrieved 18 July 2015.
- ^ "Rosato Conquers Forte Dei Marmi". Rosato. Archived from the original on 7 August 2016. Retrieved 21 June 2016.
- ^ "Claudia Cardinale". UNESCO. Archived from the original on 12 July 2015. Retrieved 16 March 2014.
- ^ "Claudia Cardinale participates in ETF Conference 'Skills for Progress' and the International Scientific Conference on Desertification and Drylands Research". UNESCO. 22 June 2006. Archived from the original on 4 March 2016. Retrieved 18 July 2015.
- ^ Georges, Cary; Leiba, Freddie (February 2011). "The 50 Most Beautiful Women in Film". Los Angeles Times Magazine. Archived from the original on 14 May 2011. Retrieved 10 June 2011.(subscription required)
- ^ "Isabelle Adjani tops Time Magazine's beautiful women list". Mid-Day. 9 February 2011. Archived from the original on 22 July 2015. Retrieved 22 July 2015.
- ^ Mosiello & Reynolds 2009, p. 227.
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External links
- Official website
- "Claudia Cardinale". BFI Film & TV Database. Archived from the original on 5 August 2012.
- Claudia Cardinale at AllMovie
- Claudia Cardinale at IMDb
- "Claudia Cardinale". Virtual History. Film.