Claudia Cardinale

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Claudia Cardinale
Cardinale in the movie The Pink Panther (1963)
Born
Claude Joséphine Rose Cardinale

(1938-04-15) 15 April 1938 (age 85)
NationalityItalian
OccupationActress
Years active1957–present
Partners
Children2
RelativesFrancesca Cardinale (niece)
Websiteofficial-claudiacardinale.com

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 (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

Berlin Film Festival. The film made her a minor local celebrity,[11] and led to her being spotted by Jacques Baratier, who offered her a minor role in Goha. She accepted it reluctantly after Baratier explained he wanted a Tunisian actress rather than an Italian to star in the main role opposite the Egyptian actor Omar Sharif. The appearance nonetheless marked her feature-film debut.[12] The turning point came in 1957 during the Italian Cinema Week in Tunis, when she won a competition for the "Most Beautiful Italian Girl in Tunisia",[13] with a trip to the Venice Film Festival as first prize. After being spotted by several film producers at the event, she was invited to study at the Experimental Cinematography Centre in Rome under Tina Lattanzi. She attended briefly as, despite her extremely photogenic looks, she had trouble with her acting assignments (partly owing to her difficulties with the Italian language).[14] She left at the end of her first term and decided to return home, earning herself a cover story in the popular weekly Epoca triggered by her unexpected decision to turn her back on a career as a film star.[15][b]

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]

Un maledetto imbroglio
(1959)

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

dubbed, as producers considered her voice too hoarse.[36]

1960s

Cardinale in Il bell'Antonio (1960)

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]

Cardinale in Girl with a Suitcase (1961)

In 1961, Cardinale portrayed a sultry

Les Lions sont lâchés,[49] and Auguste in which she had a cameo role.[50]

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]

Cardinale with Burt Lancaster and Alain Delon in The Leopard (1963)

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 . 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 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 , 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

Universal Studios. I only signed for individual films. In the end, everything worked out fine for me.[68]

Publicity photo for Circus World (1964)

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

Holocaust survivor who may have had an incestuous relationship with her brother.[74] Later that year, she starred opposite Rock Hudson in Universal Pictures's Blindfold, the last film to be directed by Philip Dunne. Filming began on 22 February 1965 on location in Ocala, Florida.[75] Diane Bond doubled for Cardinale in the film.[76] Cardinale became good friends with Hudson, who proved to be very protective of her, knowing her discomfort outside of Italy. While in Hollywood, Cardinale also became friends with Barbra Streisand, Elliott Gould, and Steve McQueen, but she never managed to feel at home there.[77]

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]

Cardinale in Lost Command (1966)
Nell'anno del Signore
(1969)

In 1966, a photograph of Cardinale was featured in the original gatefold artwork to

sex farce Don't Make Waves opposite Tony Curtis. Although occasional funny moments were noted, Don't Make Waves was generally panned by the critics and the lack of chemistry with co-star Curtis was highlighted.[80] Leonard Maltin, though, described the film as "a gem".[81]

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

Airship Italia.[86]

1970s

Cardinale with Alberto Sordi in A Girl in Australia (1971), which earned her the David di Donatello for Best Actress

In 1970, Cardinale starred opposite

noir" elements.[90] Cardinale and the director Pasquale Squitieri met for the first time on set, and he soon became her husband.[91]

Cardinale in I guappi (1974)

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

Corleone, set in 1950s Sicily.[97]
After a role in another Squitieri film in 1978, L'arma, Cardinale portrayed Eleana, a Greek "gutsy brothel madame" and the girlfriend of Telly Savalas in George P. Cosmatos's adventure war film, Escape to Athena (1979).[98] The film, shot on location in Rhodes, was poorly received; it holds a 32% "rotten" rating on Rotten Tomatoes as of July 2015.[99]

1980s

After a role in

Le Cadeau, a role which biographers Lancia and Minelli say was played with a "mature charm and expressiveness".[104]

In 1983, Cardinale had a role in the

Nastro d'Argento for Best Actress.[107] In 1985, Cardinale starred opposite Ben Gazzara and Lina Sastri in Alberto Bevilacqua's La donna delle meraviglie.[108] It entered the competition at the 1985 Venice International Film Festival.[109]

In 1986, Cardinale was involved in the making of two films for television. In Comencini's

Desson Howe of The Washington Post highlighting the "warm and radiant" elements that she brought to the role,[112] and Hal Hinson, also of The Post, comparing Scacchi to having "the same kind of sensuality that Cardinale brought to her earlier roles".[113] After a role in the comedy, Blu elettrico (1988), Cardinale portrayed Yolande de Polastron, a favourite of Marie Antoinette's, in the two-part film La Révolution française in 1989. Made to celebrate the bicentennial anniversary of the French Revolution, the 360-minute Robert Enrico and Richard T. Heffron film was an international production, boasting a cast which included Klaus Maria Brandauer, Jane Seymour and Peter Ustinov.[114]

1990s

Cardinale in 1995

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

Razzie Award for Worst New Star. As of July 2015, it has a rating of just 6% on Rotten Tomatoes based on 34 reviews.[117]
In 1994, Cardinale had a role in Charlotte Dubreuil's Elles ne pensent qu'à ça..., and the following year appeared in the French TV serial 10-07: L'affaire Zeus.[118]

In 1997, Cardinale featured in the British-Italian television drama miniseries

Garibaldi era, in Cristaldi's historical film Li chiamarono... briganti!. Poorly received, the film was boycotted, and the producers have since refused to assign the broadcasting rights.[123]

2000s

Cardinale at the Women's World Awards in 2009

In 2000, Cardinale embarked on her stage career, starring in

La Venexiana, adapted by René de Ceccatty, at the Théâtre du Rond-Point in Paris.[124]
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

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.[133] The Turkish-Italian co-production was shot in locations in Istanbul and Rimini.[134]

In 2012, Cardinale featured opposite

Dolomite Mountains at the outbreak of World War I between Italy and Austria-Hungary in 1915. Gossner described her as "a terrific spirit on the set", and noted that Cardinale told the production team "legendary stories" about Marcello Mastroianni.[139] In 2014, Cardinale portrayed a "sympathetic Italian chaperone" viscountess in the British period drama film Effie Gray, which was written by Emma Thompson (whom Cardinale shares birthday with) and featured Dakota Fanning in the lead role.[140] While promoting Effie Gray, in an interview Cardinale said: "I still continue to work, it's 142 movies now. Usually when you are old you don't work any more, but I still work, which is good.... I've been very lucky because I've had many fantastic directors with me, Fellini, Visconti, Blake Edwards, lots and lots...".[141]

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

feminist causes over the years. Although she lives in Paris, Cardinale is fiercely outspoken about being identified as an Italian. She has been a UNESCO goodwill ambassador for the Defence of Women's Rights since March 2000,[152] and was a goodwill ambassador for the UNESCO World Water Day for 2006.[153]

Cardinale published an autobiography with Anne Mori, Io Claudia, Tu Claudia, in 1995.

Berlin Film Festival. The Los Angeles Times Magazine, in a February 2011 online feature, named Cardinale among the 50 most beautiful women in film history.[154][155] Cardinale said of her acting, "I never felt scandal and confession were necessary to be an actress. I've never revealed myself or even my body in films. Mystery is very important."[156] In a 2014 interview, she revealed her secret of success: "If you want to practise this craft, you have to have inner strength. Otherwise, you'll lose your idea of who you are. Every film I make entails becoming a different woman. And in front of a camera, no less! But when I'm finished, I'm me again."[67]

Filmography

References

Notes

  1. ^ Rocco and His Brothers, The Leopard and in particular are frequently ranked by directors and critics as among the greatest films ever made.[1][2][3]
  2. ^ 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]
  3. ^ 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]

Citations

  1. ^ The Advocate. Liberation Publications. April 1992. p. 56. Archived from the original on 14 May 2016.
  2. ^ "Martin Scorsese's Top 10". Criterion. Archived from the original on 21 July 2015. Retrieved 17 July 2015.
  3. ^ "50 Greatest Films of All Time". British Film Institute. Archived from the original on 1 March 2017. Retrieved 17 July 2015.
  4. ^ Clancy-Smith 2011, p. 712.
  5. ^ Sleeman 2001, p. 90.
  6. ^ a b Cardinale & Mori 1995, p. 5.
  7. ^ a b Cardinale & Mori 1995.
  8. ^ Cardinale & Mori 1995, p. 12.
  9. ^ Cardinale & Mori 1995, p. 28.
  10. ^ Cardinale & Mori 1995, p. 19.
  11. ^ Cardinale & Mori 1995, p. 23.
  12. ^ Cardinale & Mori 1995, p. 21.
  13. ^ Müller 2004, p. 210.
  14. ^ Cardinale & Mori 1995, p. 41.
  15. ^ Cardinale & Mori 1995, p. 42.
  16. ^ "Claudia Cardinale". Life in Italy. Archived from the original on 10 July 2015. Retrieved 10 July 2015.
  17. Newspapers.com. Open access icon
  18. ^
  19. ^ Cardinale & Mori 1995, p. 29-30.
  20. ^ Lancia & Minelli 2009, p. 15.
  21. ^ a b Cardinale & Mori 1995, p. 31.
  22. ^ Cardinale & Mori 1995, p. ?.
  23. ^ a b Moliterno 2002, p. 134.
  24. ^ Cardinale & Mori 1995, p. 55.
  25. ^ Lancia & Minelli 2009, p. 24.
  26. ^ Cardinale & Mori 1995, p. 32.
  27. ^ Cardinale & Mori 1995, p. 58.
  28. ^ Cardinale & Mori 1995, p. 33-4.
  29. ^ Cardinale & Mori 1995, p. 52.
  30. ^ Cardinale & Mori 1995, p. 118.
  31. ^ Cardinale & Mori 1995, p. 120.
  32. ^ Lancia & Minelli 2009, p. 27.
  33. ^ Cardinale & Mori 1995, pp. 120–121.
  34. ^ Cardinale & Mori 1995, p. 44.
  35. ^ Dixon 2001, p. 1958.
  36. ^ Lancia & Poppi 2003.
  37. ^ Klinowski & Garbicz 2012, p. 290.
  38. ^ Cardinale & Mori 1995, p. 144.
  39. ^ Cardinale & Mori 1995, p. 40.
  40. ^ Cardinale & Georget 2006, p. 79.
  41. ^ Lancia & Minelli 2009, p. 37.
  42. ^ Bondanella 2001, p. 197.
  43. ^ Freda 2006, p. 63.
  44. ^ a b Cardinale & Mori 1995, p. 141-2.
  45. ^ Cardinale & Georget 2006, p. 88.
  46. ^ Cardinale & Georget 2006, p. 86.
  47. ^ "Girl With a Suitcase". Dennis Schwartz. Archived from the original on 19 December 2010. Retrieved 7 July 2015.
  48. ^ Cardinale & Georget 2006, p. 90.
  49. ^ Audiard & Château 1995, p. 57.
  50. ^ Lancia & Minelli 2009, p. 43.
  51. ^ Cardinale & Mori 1995, p. 47.
  52. ^ Klinowski & Garbicz 2012, p. 390.
  53. ^ a b Cardinale & Mori 1995, pp. 198–9.
  54. ^ "Gli indifferenti [1]" (in Italian). MyMovies.it. Archived from the original on 8 August 2015. Retrieved 9 July 2015.
  55. ^ Steve Rose (11 September 2013). "Claudia Cardinale: 'I don't want to stop'". The Guardian. Archived from the original on 21 July 2015. Retrieved 18 July 2015.
  56. ^ "The Leopard celebrates its 50th anniversary". British Film Institute. 5 February 2014. Archived from the original on 16 March 2014. Retrieved 16 March 2014.
  57. ^ "The 100 Best Films Of World Cinema". Empire. Archived from the original on 12 July 2014. Retrieved 16 March 2014.
  58. ^ a b "Claudia Cardinale: part two". The Guardian. 10 May 2003. Archived from the original on 10 July 2015. Retrieved 9 July 2015.
  59. ^ Cardinale & Mori 1995, p. 145.
  60. ^ a b Borin & Mele 1999, p. 79.
  61. ^
    ISSN 0024-3019. Archived from the original on 20 May 2016. {{cite book}}: |last= has generic name (help
    )
  62. ^ "8½," Criterion Collection DVD, featured commentary track.
  63. ^ Brunetta 1993, p. 160 & 180.
  64. ^ Gnudi 2008, p. 60.
  65. ^ "I Protagonisti del Cinema Italiano: Claudia Cardinale" (in Italian). Festival del cinema europeo. 2014. Archived from the original on 22 March 2016.
  66. ^ "The Pink Panther (1964)". TCM. Archived from the original on 16 March 2014. Retrieved 16 March 2014.
  67. ^ a b Juraj Fellegi (27 June 2014). "CLAUDIA CARDINALE: I've lived 141 lives". artfilmfest. Archived from the original on 12 July 2015. Retrieved 11 July 2015.
  68. ^ Cardinale & Mori 1995, p. 158.
  69. ^ Ringgold 1980, p. 231.
  70. ^ "A Tribute to Claudia Cardinale – Biography". Claudia Cardinale Biography. 10 May 2003. Archived from the original on 3 November 2014. Retrieved 17 July 2015.
  71. ^ Simpson & Madesani 2008, p. 56.
  72. ^ Lancia & Minelli 2009, p. 66.
  73. ^ Cardinale & Mori 1995, p. 150.
  74. ^ "Claudia Cardinale to fete Visconti restoration at Venice". La Gazzetta del Mezzogiorno. 15 July 2013. Archived from the original on 12 July 2015. Retrieved 11 July 2015.
  75. ^ Zambrana 2002, p. 54.
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Sources

External links