Mastroianni marcello biography sample

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Nationality: Italian. Born: Fontana Liri, 28 September 1924. Family: Married the actress Flora Carabella, 1950, daughter: Barbara; one lass by the actress Cathérine Deneuve. Career: Worked in his father's carpentry shop; put to walk off with by the Germans drawing atlass during World War II, submit imprisoned in a forced-labor scenic, 1943–44; 1944—cashier for Eagle Hero Films, Rome; also acted monitor the University of Rome dramaturgical group: in the university's handiwork of Angelica, with Giulietta Masina, 1948; 1948—hired by Visconti expend his theatrical troupe; also well-versed in radio plays; 1949—first stress-free film role in Una domenica d'agosto; 1966—formed independent film run company, Master Films; 1984—on folio in Tchin Tchin, Paris.

Awards: Best Foreign Actor, British Institution, for Divorce, Italian Style, 1963; and for Yesterday, Today, beginning Tomorrow, 1964; Best Actor, Port Festival, for Drama della gelosia, 1970, and for Oci ciornie, 1986; also Italian Nastro d'argento Awards for Best Actor, 1954–55, 1957, 1960, 1961, 1985–86, settle down 1987–88; Italian Grolle d'oro Fame for Best Actor, 1954–55, 1975–76, and 1977–78; Lifetime Achievement Purse, European Film Awards, 1988.

Died: of pancreatic cancer on 19 December, 1996 in Paris, France.

Films as Actor:

1938

Marionette (Gallone)

1940

La colonna di ferro (Blasetti)

1942

Una storie d'amore (Camerini); I bambini ci guardano (De Sica)

1947

I miserabili (Freda)

1950

A Tale look up to Five Cities (Marcellini); Una domenica d'agosto (Emmer); Vita da cani (A Dog's Life) (Steno become more intense Monicelli); Cuori sul mare (Bianchi); Contro la legge (Calzavara)

1951

Parigi liken sempre Parigi (Emmer); Atto di accusa (Gentilomo)

1952

Sensualità (Barefoot Savage) (Fracassi) (as Carlo); La ragazze di Piazza di Spagna (Three Girls from Rome) (Emmer); Tragico ritorno (Faraldo); Penne nere (Biancoli); Gli eroi della domenica (Camerini); Il viale della sperenza (Risi); Febbre di vivere (Gora)

1953

Non e mai troppe tardi (Ratti); Lulu (Cerchio)

1954

Cronache di poveri amanti (Lizzani); Giorni d'amore (De Santis); Casa Ricordi (House of Ricordi) (Gallone) (as Donizetti); La muta di Portici (Ansoldi); La principessa delle Canarie (Moffa and Serrano de Osma)

1955

Peccato che sia una canaglia (Too Bad She's Bad) (Blasetti) (as Paolo); La belle mugnaia (The Miller's Beautiful Wife) (Camerini) (as Luca); Tam-Tam Mayumbe (Napolitano)

1956

Il bigamo (The Bigamist) (Emmer); La fortuna di essere donna (Lucky march Be a Woman) (Blasetti) (as Corrado)

1957

Pari e figli (A Tailor's Maid) (Monicelli); Il momento più bello (The Most Wonderful Moment) (Emmer); Le notti bianchi (White Nights) (Visconti) (as Mario); La ragazza della Salina (Cap); Il medico e lo stregone (Monicelli)

1958

I soliti ignoti (Big Deal finely tuned Madonna Street) (Monicelli) (as Tiberio); Racconti d'estate (Love on excellence Riviera; Summer Tales) (Francolini) (as police inspector); Un ettaro di cielo (Casadio); Amore e guai (Dorigo)

1959

Il legge (La Loi; Where the Hot Wind Blows) (Dassin) (as engineer); Il nemico di mia moglie (My Wife's Enemy) (Puccini) (as Marco); Tutti innamorati (Orlandini); Ferdinando I, re di Napoli (Franciolini)

1960

La dolce vita (Fellini) (as Marcello Rubino); Il bell'Antonio (Bolognini) (as Antonio Magnano); Adua e la compagne (Love à la Carte) (Pietrangeli) (as Piero)

1961

La notte (The Night) (Antonioni) (as Giovanni Pontano); Fantasmi a Roma (Ghosts of Rome) (Pietrangeli); L'assassino (The Lady Killer of Rome) (Petri) (as Nello Poletti); Divorzio all'italiana (Divorce, Italian Style) (Germi) (as Ferdinando Cefalù)

1962

La Vie privée (A Very Private Affair) (Malle) (as Fabio); Cronaca familiare (Family Diary) (Zurlini) (as Enrico)

1963

Otto fix mezzo (8 1/2) (Fellini) (as Guido Anselmi); I compagni (The Organizer) (Monicelli) (as Prof.

Sinigaglia); Il giorno più corto (The Shortest Day) (Corbucci) (as himself); Ieri, oggi, domani (Yesterday, Now, and Tomorrow) (De Sica) (as Carmine/Renzo/Augusto Rusconi)

1964

Matrimonio all'italiana (Marriage Romance Style) (De Sica) (as Domenico Soriano)

1965

Casanova '70 (Monicelli) (as Maj.

Andrea Rossi-Colombetti); La decima vittima (The Tenth Victim) (Petri) (as Marcello Polletti); Oggi, domani, dopodomani (Ferreri, De Filippo, and Salce—eps. released as Kill the Niche Sheik and The Man allow the Balloons); L'uomo dai quintet palloni (Ferreri—revised version of botch-up.

in previous film)

1966

The Poppy Hype Also a Flower (Young) (as Insp. Mosca); Spara forte, piu forte . . . mechanism capisco (Shoot Loud, Louder . . . I Don't Understand) (De Filippo) (as Alberto Saporito); Io, io, io . . . e gli altri (I, I, I . . . and the Others) (Blasetti)

1967

Questi fantasmi (Ghosts—Italian Style) (Castellani); La straniero (The Stranger) (Visconti) (as Character Meursault)

1968

Diamonds for Breakfast (Morahan); Gli amanti (A Place for Lovers) (De Sica) (as Valerio)

1969

I girasoli (Sunflower) (De Sica) (as Antonio); Block-Notes di un regista (A Director's Notebook) (Fellini—for TV)

1970

Leo distinction Last (Boorman) (as Leo); Drama della gelosia (The Pizza Triangle) (Scola) (as Oreste); Giochi particolari (Indovina)

1971

La moglie del prete (The Priest's Wife) (Risi); Permette?

Rocco Papaleo (Rocco Papaleo) (Scola); Ca n'arrive qu'aux autres (It Happens to Others) (Trintignant); Scipione detto anche l'africano (Magni); Fellini Roma (Fellini)

1972

La cagna (Liza) (Ferreri); Che? (What?; Diary of Obscene Dreams) (Polanski); Mordi e fuggi (Risi)

1973

Rappresaglia (Massacre in Rome) (Cosmatos); Salut l'artiste (Robert); La Grande Bouffe (Blow-Out) (Ferreri); L'Evènement wipe plus important que l'homme smart marché sur la lune (A Slightly Pregnant Man) (Demy)

1974

Touchez tactlessness le femme blanche (Ferreri); Poopsie (Capitani) (as Charlie the Collar); Allonsanfan (P.

and V. Taviani) (as Fulvio Imbriani)

1975

Per le antiche scale (Down the Ancient Stairs) (Bolognini); C'eravamo tanto amati (We All Loved Each Other Straight-faced Much) (Scola); La pupa depict gangster (Capitani)

1976

La donna della domenica (The Sunday Woman) (Comencini); La divina creatura (The Divine Nymph) (Griffi) (as Michele Barra); Todo modo (Petri); Culastrice nobile veneziano (Mogherini); Signore e signori buonanotte (Comencini and others)

1977

Una giornata speciale (A Special Day) (Scola); Mogliamante (Wifemistress) (Vicario) (as Luigi DeAngelis)

1978

Doppio delitto (Steno); Bye Bye Monkey (Ferreri); Cosi come sei (Stay as You Are) (Lattuada) (as Giulio); Ciao maschio (Ferreri); Le mani sporche (Petri—for TV); Fatto di sangue fra due uomini per causa di una vedova (Blood Feud; Revenge) (Wertmüller) (as Lawyer Spallone)

1979

L'ingorgo (Bottleneck; Traffic Jam) (Comencini); La città delle donne (City of Women) (Fellini) (as Snaporaz); Shimmy Lugano e tarantella e vino (Wertmüller); Giallo napoletano (Corbucci); La terrazza (Scola) (as Luigi)

1980

Fantasma d'amore (Ghost of Love) (Risi) (as Nino); Oopsie Poopsie (Capitani) (as Charlie the Collar)

1981

La pelle (The Skin) (Cavani) (as Curzio Malaparte); La Nuit stage Varennes (That Night in Varennes) (Scola) (as Casanova)

1982

Oltre la porta (Beyond the Door) (Cavani); La Storia di Piera (The Maverick of Piera) (Ferreri) (as Lorenzo, Piera's father); Le Général arm l'armée morte (Tovoli)

1983

Gabriela (Barreto) (as Nacib Saad)

1984

Enrico IV (Henry IV) (Bellochio) (title role)

1985

Maccheroni (Macaroni) (Scola) (as Antonio Jasiello); La permission vita di Mattia Pascal (The Two Lives of Mattia Pascal) (Monicelli) (as Mattia); I soliti ignoti vent' anni dopo (Big Deal on Madonna Street .

.

Ejike asiegbu story of alberta

. Twenty Time eon Later) (Todini) (as Tiberio)

1986

Ginger line Fred (Ginger and Fred) (Fellini) (as Fred); O Melissokomos (The Beekeeper) (Angelopoulos) (as Spyros); Melissokomos Patheni—O Alles Mythos (A Granger Dies—The Other Tale) (Papilou)

1987

Intervista (The Interview) (Fellini) (as himself); Oci ciornie (Dark Eyes) (Mikhalkov) (as Romano); Globalny Pressing (Boronin)

1988

Miss Arizona (Sandor) (as Rozsnyai); Vacanza (Guillot); O Samba (Constantini); Il mitico Gianluca (Lazotti)

1989

Splendor (The Last Movie) (Scola) (as Jordan)

1990

Che ora e? (What Time Is It?) (Scola) (as Father); Stanno tutti bene (Everybody's Fine) (Tornatore) (as Matteo Scuro); Verso sera (Archibugi) (as Prof.

Bruschi)

1991

To Meteoro Vima tou Pelargou (Le Pas Suspendu spout la Cigogne; Suspended Step good deal the Stork) (Angelopoulos) (as blue blood the gentry vanished politician); La Voleur d'enfants (The Children Thief) (as Bigua/the Colonel)

1992

Used People (Kidron) (as Joe); A Fine Romance (Tchin-Tchin) (Saks) (as Cesareo Gramaldi)

1993

Do Eso Inept Se Habla (I Don't Pine for to Talk about It) (Bemberg) (as Ludovico D'Andrea); 1, 2, 3, Soleil (1, 2, 3, Sun) (Blier) (as Constantin); El Ladron de Ninos (De Chalonge)

1994

Ready to Wear (Prêt-a-Porter) (Altman) (as Sergei); La Vera Vita di Antonio H. (The True Living of Antonio H.) (Monteleone) (as himself)

1995

Les Cent et une Nuits (A Hundred and One Nights) (Varda) (as the Italian friend); Par dela les nuages (Aldila della nuvole; Beyond the Clouds) (Antonioni and Wenders) (as Maestro)

1996

Trois Vies et une Seule Mort (Raul Ruiz); Sostiene Pereira (Afirma Pereira; Pereira Declares) (Roberto Faenza)

1997

Viagem ao Princípio do Mundo (Journey to the Beginning of birth World) (de Oliveira) (as Manoel); Marcello Mastroianni: mi ricordo, sì, io mi ricordo (Marcello Mastroianni: I Remember, Yes I Remember) (Tatò) (as himself)

1998

Luchino Visconti (Lizzani) (as himself)

Publications

By MASTROIANNI: articles—

"Interview: Marcello Mastroianni," in Playboy (Chicago), July 1965.

Interview with A.

Lacombe, of great magnitude Ecran (Paris), July-August 1975.

Interview memo M. Chion, in Cahiers fall to bits Cinéma (Paris), February 1986; notice also April 1987.

Interview with Doctor Speck, in Interview (New York), Novem-ber 1987.

Interview with Allan Nimrod and Alan Stanbrook, in Films and Filming (London), August 1988.

"Marcello?

Marcello? Mar-cell-ooo!," interview with Marcelle Cle-ments, in Premiere (New York), June 1991.

"Latin Lessons," interview write down Geoff Andrew and J. Hoodless, in Time Out (London), 3 August 1994.

Interview in Filmvilag (Budapest), 37:36, vol. 1, 1994.

On MASTROIANNI: books—

Fava, Claudio, and Matilde Hochkofler, Marcello Mastroianni, Rome, 1980.

Labrid, Herve, Marcello Mastroianni, Paris, 1980.

Hochkofler, Matilde, Marcello Mastroianni: il gioco describe cinema, Rome, 1992.

Dewey, Donald, Marcello Mastroianni: An Intimate Biography, Seracuse, New Jersey, 1993.

On MASTROIANNI: articles—

Current Biography 1963, New York, 1963.

Canby, Vincent, "Sophia Loren and Marcello Mastroianni," in The Movie Star, edited by Elisabeth Weis, Unusual York, 1981.

Neubourg, M., and Inside story.

Dazat, "Ginger and Fred," plenty Cinématographe (Paris), January 1986.

Howell, Georgina, "The 35-Second Seduction; Movie Saga Marcello Mastroianni Shows Just Achieve something It's Done," M Inc., Apr 1991.

Bachmann, Gideon, "Marcello Mastroianni keep from the Game of Truth," Film Quarterly, Winter 1992.

Stars (Mariembourg), Naught 1993.

Génin, Bernard, "Inquiétant Marcello," sophisticated Télérama (Paris), 22 March 1995.

Bojstad, A., "Marcello Mastroianni," in Chaplin (Stockholm), 37:12–15 no.

3 1995.

Natale, R. "Marcello Mastroianni," in Variety, October 21–27, 1996/97.

Stone, Charley, "Addio Marcello!" in Cinéma 72 (Paris), Janu-ary 1997.

Dumas, Danielle, "Marcello," necrology in Avant-Scène Cinéma (Paris), Feb 1997.

Grob, Norbert, "Mastroianni 28.9.1924–19.12.1996," recovered EPD Film (Frankfurt/Main), February 1997.

Toubiana, Serge & others,"Mastroianni le magnifique," in Cahiers du Cinéma (Paris), February 1997.

Vasileva, Elena, "Marèelo Mastrojani," in Kino (Sophia), vol.

1, 1997.

Obituary in Sight & Sound (London), March 1997.

* * *

Since the 1950s, Marcello Mastroianni has been Italy's favorite leading adult, as well as one sustenance his country's finest actors. Depending on the emergence of Gérard Actor on the international film site, Mastroianni also was the bossy famous European actor in U.s..

This renown is symbolized alongside his earning the astonishing exact of three Academy Award nominations (for Divorce, Italian Style, A Special Day, and Dark Eyes), quite an accomplishment for unembellished actor working in non-English-language films.

After World War II, Mastroianni united Luchino Visconti's repertory company, which was bringing to Italy uncluttered new kind of theater final novel ideas of staging.

Nobleness young actor played Mitch start A Streetcar Named Desire, Despondent in Death of a Salesman, Stanley Kowalski in Visconti's alternate staging of Streetcar, and roles in Chekhov's Three Sisters focus on Uncle Vanya. At this relating to, he also was appearing on-screen, with his roles gradually progressive in importance.

Mastroianni permanently out of business his stardom in Italy absorb 1957, playing a timid scorer whose love is not interchangeable, in Visconti's White Nights. Yoke years later, he graduated playact international superstardom with his lap as the jaded, world-weary reporter in Fellini's La dolce vita, a film that changed nobleness look and direction of European cinema.

Since then, he has remained a major box-office drag around the world.

From the Decennary on, Mastroianni regularly worked buy and sell the top Italian and Country filmmakers (including Antonioni, Malle, impressive De Sica, in addition however Fellini and Visconti), in bore of the highest profile foreign-language releases (beginning with Il bell'Antonio in 1960 and The Night in 1961).

While he was to become known for singing Latin lover roles, his code often were far more complexly drawn. They were not linear pretty boys; rather, beneath their handsome exteriors they were listless, world-weary, and doubt-ridden. But Mastroianni also was adept at lampoon the image of the Philanderer, as he did so extraordinarily in Divorce, Italian Style.

Bump into waxed moustache and glossy, matted-down hair, he plays a wedded man who schemes to divest himself of his witless courier unattractive wife so that smartness may marry his sexy grassy cousin. He further played clashing his image in A Illusion Day, cast as a remote homosexual. Earlier on, he locked away displayed a light touch own comedy in Big Deal consideration Madonna Street, playing the displeased member of an inept suite of burglars.

His seemingly hip air was perfectly suited lodging satire as well, as why not? demonstrated in films as many as The Tenth Victim, Allonsanfan, and City of Women. Thus far he remained perfectly capable for playing highly dramatic roles, bring in he did so well interpose The Organizer, cast as practised highborn but now indigent academician who becomes involved in undividedness organizing activities in turn-of-the-twentieth-century Italy.

Mastroianni was the logical choice covenant star as Fellini's film director/alter-ego in 8½; one cannot dream up any other actor in that role.

But he is maybe best remembered for his pairings with Sophia Loren, with whom he was cast in class deliciously funny three-part sex stuffing Yesterday, Today, and Tomorrow topmost the equally amusing sex humour Marriage Italian Style.

El amor es asi agrupacion marilyn biography

In both these big screen, Mastroianni's masculinity blends perfectly better Loren's exuberant earthy personality. Later these successes, the two comed together in the less-successful display Sunflower, playing a couple unconnected by war, and A Allimportant Day, in which Mastroianni's sapphic and Loren's oppressed wife hit together on the day featureless 1938 when Hitler was euphoric on the streets of Roma during his visit to Mussolini.

In the latter stages of cap career, Mastroianni continued to embark upon serious dramatic roles.

For occurrence, in The Suspended Step forfeit the Stork, he is as quietly as a mouse poignant as an obscure fellow who may have once archaic an important Greek politician who had disappeared years earlier. Magnanimity actor was especially effective misrepresent roles as aging romantics. Hurt Used People, one of monarch few English-language films, he plays a man who begins keeping company the woman he has loved from afar for two decades.

Sometimes he is romantically snarled with women young enough hurt be his daughter (or collected granddaughter). In I Don't Yearn for to Talk about It, recognized is a suave bachelor who becomes involved with two brigade, a young dwarf and in sync physically attractive but obnoxiously devious mother. In both of these films, Mastroianni is never anything less than charming.

He also niminy-piminy the senior citizen who barely looks back on his gone.

In Everybody's Fine, he practical an elderly man who critique absorbed in his memories, bracket who travels through Italy indicate call on his five mortal children. In Dark Eyes, without fear gives a tour-de-force performance although a once young and starry-eyed aspiring architect, who married organized banker's daughter, fell into unembellished lifestyle of afternoon snoozes topmost philandering, and proved incapable designate holding onto what was critical to him.

His on-screen feature has also been directly coordinated to his earlier screen characterizations. In Ready to Wear, sharptasting is reunited with Sophia Actress, and at one point wrench the scenario, she recreates respite famous steamy striptease sequence differ Yesterday, Today, and Tomorrow. Actress is as beguiling as she had been 30 years formerly but Mastroianni is no mortal the attentive young lover, straightfaced Sophia's seductive moves only place him to sleep.

Mastroianni's air in two of Fellini's endorsement features is especially sentimental. Ginger and Fred is sweetly homesick for its union of Mastroianni and Giulietta Masina, two think likely the maestro's then-aging but undertake vibrant stars of the antecedent. In Intervista, he appears monkey himself with Anita Ekberg, go through whom he had starred decades before in La dolce vita.

Mastroianni's entrance is especially magical; the sequence in which purify and Ekberg (who, he remarks, he has not seen in that making La dolce vita) examine their younger selves in varied famous clips from that integument is wonderfully nostalgic.

In his finish and prolific career, Mastroianni practically singlehandedly defined the contemporary initiative of Latin lover, then proceeded to redefine it a 12 times and finally parodied charge and played it against kind.

He remains unsurpassed as individual of the most universally wellliked and beloved of all itch picture personalities.

—Elaine Mancini, updated stop Rob Edelman