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Spanish postcard by Archivo Bermejo, no. 7142. Photo: Universal International. John Gavin in Spartacus (Stanley Kubrick, 1960).
In the late 1950s, American actor John Gavin was hailed at Universal Pictures as the second coming of Rock Hudson. The new heartthrob played Lana Turner's love interest in Douglas Sirk's remake of Imitation of Life (1959); portrayed Sam Loomis, who as Janet Leigh's boyfriend helps solves the mystery of Norman Bates, in Alfred Hitchcock's Psycho (1960); and was the object of Julie Andrews and Mary Tyler Moore's affections in George Roy Hill's Thoroughly Modern Millie (1967). He was almost signed on to play James Bond in Diamonds Are Forever (1971) but the role eventually returned to Sean Connery.
John Gavin was born Juan Vincent Apablasa in Los Angeles in 1931. His mother was born in Mexico, his American father had mining interests in the country, and he grew up bilingual. After the divorce of his parents, his name was changed to John Anthony Golenor. He attended St. John's Military Academy in L.A., Beverly Hills High School, and Villanova Prep in Ojai, Calif., before studying the economic history of Latin America at Stanford University. He graduated from college in 1952, then served in the U.S. Navy as an Air Intelligence Officer. Following his naval service, Gavin offered himself as a technical adviser to a family friend, film producer Bryan Foy, who was making a film about Princeton. Instead, Foy arranged a screen test with Universal-International. The test was successful and Gavin signed with the studio. He was billed as John Gilmore in the Western Raw Edge (John Sherwood, 1956), starring Rory Calhoun. Universal groomed Gavin as a virile, strapping, handsome leading man in the mold of Rock Hudson. They gave him roles in the Film Noir Behind the High Wall (Abner Biberman, 1956), the Hollywood drama Four Girls in Town (Jack Sher, 1957) with George Nader and Elsa Martinelli, and Quantez (Harry Keller, 1957) with Fred MacMurray and Dorothy Malone. He enjoyed a high profile in Hollywood following his debut lead role in the Douglas Sirk film A Time to Love and a Time to Die (1958), from the novel by Erich Maria Remarque. This melodrama was revered for its depiction of Germans towards the end of WWII made just 14 years after it ended. Gavin then starred in Imitation of Life (Douglas Sirk, 1959), alongside Lana Turner and Sandra Dee. Unlike A Time to Love and a Time to Die, this was a spectacular success at the box office. He followed that up with a role in another hit, Alfred Hitchock's horror Classic Psycho (1960), in which he played Sam Loomis, the boyfriend of Janet Leigh's doomed Marion Crane. In other films released in 1960, John Gavin appeared in a key supporting role as Julius Caesar in Stanley Kubrick's Spartacus (1960), helped rescue Doris Day from thieving husband Rex Harrison in the thriller Midnight Lace (David Miller, 1960) and was Sophia Loren's handsome leading man in the turkey A Breath of Scandal (Michael Curtiz, 1960).
During the 1960 and 1970s, John Gavin's film credits included the Susan Hayward melodrama Back Street (David Miller, 1961), Tammy Tell Me True (Harry Keller, 1961), with Sandra Dee; The Madwoman of Chaillot (Bryan Forbes, 1969) with Katharine Hepburn; and Pussycat, Pussycat, I Love You (Rod Amateau, 1970). Gavin also starred on two short-lived series in 1964 and 1965: as the framed lawman on the ABC Western Destry and as a freighter captain on NBC's Convoy. Through the 1960s, John Gavin served as special adviser to two secretaries-general of the Organization of American States. While under contract at Universal, Gavin ventured into Mexico against the wishes of the studio and appeared as the title character in Pedro Paramo (Carlos Velo, 1967), a Spanish-language film set during the Mexican Revolution. It was entered into the 1967 Cannes Film Festival. The success enhanced his reputation with Universal execs, who cast him in Thoroughly Modern Millie (George Roy Hill, 1967). He won critical accolades for his ability to do a romantic comedy. In Rome and Tunisia, he filmed the Eurospy film Pas de Roses pour OSS 117/OSS 117 – Double Agent (Jean-Pierre Desagnat, Renzo Cerrato, André Hunebelle, 1968) about agent OSS 117. And then he was signed and all set to play James Bond in Diamonds Are Forever (Guy Hamilton, 1971) before Sean Connery returned after sitting out On Her Majesty's Secret Service (on which George Lazenby played 007) to reclaim the role of the superspy. Gavin's contract was still honoured in full. According to Roger Moore's James Bond Diary, Gavin also was slated to play Bond in Live and Let Die (Guy Hamilton, 1973), but Harry Saltzman insisted on a British actor for the role and Roger Moore played the role instead. Gavin later starred as a heart surgeon on the TV miniseries Doctors' Private Lives (Steven Stern, 1979) and played Cary Grant in a telefilm about the life of Sophia Loren, Sophia Loren: Her Own Story (Mel Stuart, 1980) in which the actress played herself. In 1973, he also appeared on Broadway in the romantic comedy Seesaw, and his TV credits included The Virginian, Hart to Hart, Medical Center, Mannix, The Doris Day Show, The Saint, and Fantasy Island. In May 1981, Gavin accepted President Ronald Reagan's invitation to serve as Ambassador to Mexico. He presided over what was then America’s third-largest embassy, with 1,181 employees. He resigned from the post in June 1986. In 1987, Gavin was named president of Universal Satellite Communications, then the owner of the Spanish-language TV-programmer Univision. He was married to Cecily Evans from 1957-1965. In 1974, he married actress Constance Towers, known for the Sam Fuller experimental films Shock Corridor and The Naked Kiss. His godfather, the prolific songwriter Jimmy McHugh ("I'm in the Mood for Love"), had introduced him to Towers.
Sources: Jacob Stolworthy (The Independent), The Hollywood Reporter, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Photoshoot with Matthew Raetz
Actor/Model
Learn more about Matt here
and here
Lake Vista
New Orleans, Louisiana
Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
Actor
Learn more about Bryan here
www.imdb.com/name/nm6882080/?ref_=nmmd_md_nm
Rivertown
Kenner, Louisiana
James Gandolfini, whose portrayal of a brutal, emotionally delicate mob boss in HBO's The Sopranos helped create one of TV's greatest drama series and turned the mobster stereotype on its head, died Wednesday in Italy. He was 51.
Darryn Glass #AaronAntil as a #miraluka #prisma #starwars #cosplay #geekguy #jedicosplay #formerjedi #greyforce #greyjedi September 30, 2016 at 08:29PM
Aspiring actor and model. I've been stepping out of my comfort zone and doing more photo shoots lately. Watch out for Matthew, I believe he has it in him to do well in the business. Learn more about him here
City Park
New Orleans, Louisiana
Spanish postcard by Edicion "Archivo Bermejo", no. 7021. Photo: Floralva. Steve Reeves in La battaglia di Maratona/The Giant of Marathon (Jacques Tourneur, Bruno Vailati, 1959).
Handsome, musclebound Steve Reeves (1926-2000) was an American bodybuilder and actor, who was a huge success in Hercules (1958) and other Peplum films, the Italian sword-and-sandal epics. At the peak of his career, around 1960, he was reputedly the highest-paid actor in Europe.
Stephen L. Reeves was born on a cattle ranch in the small town of Glasgow, Montana, in 1926. At the age of six months, he won his first fitness title as Healthiest Baby of Valley County. When Steve was 10, his father, Lester Dell Reeves, died in a farming accident. With his mother Goldie Reeves, Steve moved to California. In high school in Oakland Reeves began to work out regularly with weights, and he eventually came to the attention of Ed Yarick, who ran a bodybuilding gym. After graduating from high school, he enlisted in the Army and served in the Philippines during World War II and in Japan afterwards. After his military service, at the age of 20, he won Mr. Pacific Coast (1946) in Oregon, which led to his titles of Mr. Western America (1947), Mr. America (1947), Mr. World (1948), and, ultimately, Mr. Universe (1950). The very night after he won the Mr. Universe title, he announced his retirement from the bodybuilding competition at the age of 25. With all the body-worshipping publicity he garnered, Reeves had become interested in pursuing an acting career. He moved to New York and studied acting under Stella Adler but after arguments, was refunded his tuition. He was selected by Cecil B. DeMille for the lead role of Samson in the biblical costumer Samson and Delilah (1949) after Burt Lancaster proved unavailable. In order to look convincing on-camera, he was told to lose 15 pounds as the camera added weight. He would not be able to compete in bodybuilding with the diminished weight., so he turned the movie offer down. The part instead went to Victor Mature. In 1949 Steve did film a Tarzan-type television pilot called Kimbar of the Jungle. He was one of the Olympic Team members not interested in the charms of Jane Russell in Gentlemen Prefer Blondes (Howard Hawks, 1953). In 1954 he had a small role in the musical Athena (Richard Thorpe, 1954) playing Jane Powell's boyfriend. The same year Reeves had a small role as a detective in Ed Wood’s attempt to make a serious Film Noir, Jail Bait (Edward D. Wood Jr., 1954). On TV, Reeves guest-starred on The Ray Bolger Show (1954) and The George Burns and Gracie Allen Show (1957). These roles were mostly posing bits or walk-ons. To Hollywood, Reeves was just a body. But then his fortunes turned.
Italian film director Pietro Francisci’daughter saw Steve Reeves in Athena (1954) and Francisi invited him to come to Cinecitta, the Roman film studios. In 1957, Reeves went to Italy and played the lead character in Le fatiche di Ercole/Hercules (Pietro Francisci, 1958), opposite gorgeous Sylva Koscina. Hercules was a relatively low-budget epic based loosely on the tales of Jason and the Argonauts, though inserting Hercules into the lead role. Gary Brumburgh at IMDb: “Though he did not possess a Herculean acting talent by any stretch, handsome bodybuilder Steve Reeves certainly had an enviable Herculean physique, and made plenty good use of it in Europe.” Independent film producer Joseph E. Levine took a big chance and bought the rights to the film's American release. He added a soundtrack dubbed in English and after a major US advertising campaign on television and in the newspapers, Hercules became one of the surprise hits of 1959. Reeves became ‘overnight’ a star. The film’s international success quickly led to the sequel Ercole e la regina di Lidia/Hercules Unchained (Pietro Francisci, 1959), again with Sylva Koscina. Hercules Unchained made even more money and became one of the year's biggest grossing films. Although he is now best known for his portrayal of Hercules, Reeves played the character only twice. Next, he played 19th-century Tatar hero Hadji Murad in Agi Murad il diavolo bianco/White Warrior (Riccardo Freda, 1959) with Giorgia Moll. This was followed by his role as Goliath (in Italy Emiliano) in Il terrore dei barbari/Goliath and the Barbarians (Carlo Campogalliani, 1959) with Chelo Alonso. While filming Gli ultimi giorni di Pompei/The Last Days of Pompeii (Mario Bonnard, Sergio Leone (uncredited), 1959), the chariot Reeves was driving struck a tree and he dislocated his shoulder. This put an end to his more intense exercise routines and caused problems in the following years.
By 1960, Steve Reeves was ranked as the number-one, box-office draw in twenty-five countries around the world. From then on through 1964, Reeves went on to appear in a string of Peplum (sword & sandal films) shot on relatively small budgets, He played a number of characters on-screen, including Welsh pirate and self-proclaimed governor of Jamaica, Captain Henry Morgan in Morgan il pirata/Morgan the Pirate (André De Toth, Primo Zeglio, 1960), Karim, the fabled Thief of Baghdad in Il ladro di Bagdad/The Thief of Baghdad (Arthur Lubin, Bruno Vailati, 1961), and Randus, the son of Spartacus in Il figlio di Spartacus/The Slave: The Son of Spartacus (Sergio Corbucci, 1962). He also played Romulus, the legendary founder of Rome in Romolo e Remo/Duel of the Titans (Sergio Corbucci, 1961) opposite Gordon Scott as his twin brother Remus. Reeves reportedly turned down two roles that became international sensations. He was offered the role of James Bond by Cubby Broccoli in Dr. No (1962) but refused it because of the low salary the producer offered. Reeves also turned down the role of ‘The Man with No name’ that finally went to Clint Eastwood in A Fistful of Dollars (Sergio Leone, 1964) because he could not believe that "Italians could make a western". He played Aeneas of Troy in La leggenda di Enea/The Avenger (Giorgio Venturini, 1962) and twice he played Emilio Salgari's Malaysian hero, Sandokan in Sandokan, la tigre di Mompracem/Sandokan the Great (Umberto Lenzi, 1963) with Geneviève Grad, and I pirati della Malesia/The Pirates of Malaysia (Umberto Lenzi, 1964) with Jacqueline Sassard as the romantic interest. Reeves’ injury of The Last Days of Pompeii, would be aggravated by his stunt work in each successive film, ultimately leading to his retirement from filmmaking. In 1968 he appeared in his final film, Vivo per la tua morte/I Live For Your Death!/A Long Ride From Hell (Camillo Bazzoni, 1968), a Spaghetti Western he co-wrote. His first wife had been Sandra Smith (1955-1956). In 1963, he married Aline Czarzawicz and the couple moved in 1969 to Valley Center, California, northeast of San Diego. He had bought a ranch there with savings from his film career. For the next two decades, Reeves bred horses and promoted drug-free bodybuilding, and stayed with Aline, until her death in 1989. In 1994, Reeves and business partner George Helmer started the Steve Reeves International Society, which became through its Internet site, a leading proponent of drug-free bodybuilding. In 1996, it incorporated to become Steve Reeves International Inc. Reeves also wrote the book Powerwalking, and two self-published books, Building the Classic Physique - The Natural Way, and Dynamic Muscle Building. His last screen appearance was in 2000 when he appeared as himself in the made-for-television A&E Biography: Arnold Schwarzenegger — Flex Appeal. In 2000, Reeves died in a hospital in Escondido, California, from a blood clot after having surgery two days earlier. He passed away on the very day that Ridley Scott's Gladiator (2000) premiered, the first sword-and-sandal epic to be produced by Hollywood in many years. Steve Reeves was 74.
Sources: Gary Brumburgh (IMDb), Rick Lyman (The New York Times), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Snapped outside the Bishop's Palace in Wells this morning where a Hollywood blockbuster is being filmed.
Title: ['The Unguarded Hour']
Creator: Sassoon, Elias Victor (1881-1961)
Date: 1939
Part Of: Sir Ellice Victor Elias Sassoon papers and photographs
Series: China and Second Sino-Japanese War, 1937-1939, album
Place: Shanghai, Shanghai, China
Physical Description: 1 photograph album cover: part of 1 volume (24 gelatin silver prints); 29 x 38 cm
File: ag2011_0005x_2_5_3_47_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information and to view the image in high resolution, see: digitalcollections.smu.edu/cdm/ref/collection/eaa/id/1579
View the Europe, Asia, and Australia: Photographs, Manuscripts, and Imprints Collection
Italian postcard by Modric, Editoria d'arte, Ancona, no. MX 104. Photo: Pierluigi Praturlon. Marcello Mastroianni during the filming of La dolce vita / The Sweet Life (Federico Fellini, 1960).
Film actor Marcello Mastroianni (1924-1996) was Italy's favourite leading man since the 1950s and one of the finest actors of European cinema. In his long and prolific career, Mastroianni almost singlehandedly defined the contemporary type of Latin lover, then proceeded to redefine it a dozen times and finally parodied it and played it against type.
Marcello Vincenzo Domenico Mastroianni was born in Fontana Liri, a small village in the Apennines, in 1924. He was the son of Ida (née Irolle) and Ottone Mastroianni, who ran a carpentry shop. Marcello grew up in Turin and Rome. He appeared as an uncredited extra in Marionette (Carmine Gallone, 1939) and later appeared as an extra in Una storia d'amore/Love Story (Mario Camerini, 1942) and I bambini ci guardano/The Children Are Watching Us (Vittorio De Sica, 1944). He worked in his father's carpentry shop, but during World War II, he was put to work by the Germans drawing maps. During 1943–1944, he was imprisoned in a forced-labour camp, but he escaped and hid in Venice. In 1944, Mastroianni started working as a cashier for the film company Eagle Lion (Rank) in Rome. He began taking acting lessons and acted with the University of Rome dramatic group. In the university's production of Angelica (1948), he appeared with Giulietta Masina. His first real film credit was in I Miserabili/Les misérables (Riccardo Freda, 1948) with Gino Cervi. That year, Mastroianni joined Luchino Visconti's repertory company, which was bringing to Italy a new kind of theatre and novel ideas of staging. The young actor played Mitch in A Streetcar Named Desire, Happy in Death of a Salesman, Stanley Kowalski in Visconti's second staging of Streetcar, and roles in Anton Chekhov's Three Sisters and Uncle Vanya. He also acted in radio plays, and he had his first substantial film role in the comedy Una domenica d'agosto/Sunday in August (Luciano Emmer, 1949). In 1955 Mastroianni co-starred with Vittorio De Sica and Sophia Loren - an actress with whom he would frequently be paired in the years to come - in the screwball comedy Peccato che Sia una Canaglia/Too Bad She's Bad (Alessandro Blasetti, 1955) and later worked with De Sica again on the comedy Padri e Figli/Like Father, Like Son (Mario Monicelli, 1957). His roles gradually increased in importance, but for the most part, both the casts and crews of his projects were undistinguished, and he remained an unknown outside of Italy. Mastroianni permanently sealed his stardom in Italy, playing a timid clerk whose love is not reciprocated by Maria Schell in Le notti bianche/White Nights (Luchino Visconti, 1957). He soon became a major international star, appearing in films like I soliti ignoti/Big Deal on Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman. In this classic crime caper, he displayed a light touch for comedy, playing the exasperated member of an inept group of burglars. In 1960, he played his most famous role as a disillusioned and world-weary tabloid columnist who spends his days and nights exploring Rome's high society in Federico Fellini's La dolce vita/The Sweet Life (1960) with Anita Ekberg. La dolce vita changed the look and direction of Italian cinema. Hal Erickson at AllMovie: "Throughout his adventures, Marcello's dreams, fantasies, and nightmares are mirrored by the hedonism around him. With a shrug, he concludes that, while his lifestyle is shallow and ultimately pointless, there's nothing he can do to change it, and so he might as well enjoy it. Fellini's hallucinatory, circus-like depictions of modern life first earned the adjective 'Felliniesque' in this celebrated movie, which also traded on the idea of Rome as a hotbed of sex and decadence. A huge worldwide success, La Dolce Vita won several awards, including a New York Film Critics Circle award for Best Foreign Film and the Palme d'Or at the Cannes Film Festival."
During the 1960s, Marcello Mastroianni played in many great films and regularly worked with top Italian and French filmmakers. He appeared as the title character in Il bell'Antonio/Bell' Antonio (Mauro Bolognini, 1960) and starred in Michelangelo Antonioni’s masterpiece La notte/The Night (1961), where again his distanced, expressionless demeanour fit perfectly into the film's air of alienation and remote emotionality. He appeared in interesting films like L'assassino/The Assassin (1961, Elio Petri), La Vie Privée/A Very Private Affair (1962, Louis Malle) with Brigitte Bardot, and Cronaca familiare/Family Diary (Valerio Zurlini, 1962) with Jacques Perrin. Mastroianni followed La dolce vita with another signature role for Fellini, that of Fellini’s alter ego, a film director who, amidst self-doubt and troubled love affairs, finds himself in a creative block while making a film in Otto e Mezzo/8½ (Federico Fellini, 1962). The film won two Academy Awards. Mastroianni won the British BAFTA award twice for his roles in the black comedy Divorzio all'Italiana/Divorce, Italian Style (Pietro Germi, 1963) and the deliciously funny three-part sex farce Ieri, oggi, domani/Yesterday, Today, and Tomorrow (Vittorio De Sica, 1963), costarring with Sophia Loren. He and Loren starred together again in the equally amusing sex comedy Matrimonio all'italiana/Marriage Italian Style (Vittorio De Sica, 1964). According to Elaine Mancini on Film Reference, “Mastroianni's masculinity blends perfectly with Loren's exuberant earthy personality” in both these films. While he was to become known for playing Latin lover roles (which he spoofed in Casanova 70 (Mario Monicelli, 1965), his characters often were far more complexly drawn. They were not one-dimensional pretty boys; rather, beneath their handsome exteriors, they were lazy, world-weary, and doubt-ridden. Other films were La decima vittima/The Tenth Victim (Elio Petri, 1965) with Ursula Andress and the Albert Camus adaptation Lo Straniero/The Stranger (Luchino Visconti, 1967) with Anna Karina. Mastroianni won the Best Actor award at the Cannes Film Festival for Dramma della gelosia - tutti i particolari in cronaca/Drama of Jealousy (Ettore Scola, 1970). In 1987, he would win the award again for Oci ciornie/Dark Eyes (Nikita Mikhalkov, 1987). Mastroianni, Dean Stockwell and Jack Lemmon are the only actors to have won the award twice. During the 1970s, Mastroianni continued to work in interesting films by prolific directors like Leo the Last (John Boorman, 1970), Permette? Rocco Papaleo/My Name Is Rocco Papaleo (Ettore Scola, 1971) with Lauren Hutton, Che?/What? (Roman Polanski, 1972) with Sydne Rome and La donna della domenica/The Sunday Woman (Luigi Comencini, 1975) with Jacqueline Bisset. He often worked with controversial director Marco Ferreri at Liza (Marco Ferreri, 1972) with Catherine Deneuve, La Grande Bouffe/Blow Out (Marco Ferreri, 1973), Touche pas à la femme blanche/ Don't Touch the White Woman! (Marco Ferreri, 1974), and Ciao maschio/Bye Bye Monkey (Marco Ferreri, 1978) with Gérard Depardieu. Other interesting films are Così come sei/Stay as You Are (Alberto Lattuada, 1978) with Nastassja Kinski, L'ingorgo - Una storia impossibile/Traffic Jam (Luigi Comencini, 1979) with Annie Girardot, and La terrazza/The Terrace (Ettore Scola, 1980) with Vittorio Gassman. He played against his Latin lover image in Scola’s Una giornata particolare/A Special Day (Ettore Scola, 1977), in which Mastroianni's homosexual and Sophia Loren's oppressed housewife come together on the day in 1938 when Adolph Hitler was cheered on the streets of Rome during his visit to Benito Mussolini. His seemingly detached air was perfectly suited to satire as well, as he demonstrated in films as diverse as the historical drama Allonsanfàn (Paolo and Vittorio Taviani, 1974), and La città delle donne/City of Women (Federico Fellini, 1980).
In the latter stages of his career, Marcello Mastroianni continued to take serious dramatic roles. For instance, he played the senior citizen who simply looks back on his past. In Stanno tutti bene/Everybody's Fine (Giuseppe Tornatore, 1990), he is an elderly man who is absorbed in his memories and who travels through Italy to call on his five adult children. In Oci ciornie/Dark Eyes (Nikita Mikhalkov, 1987), he gives a tour-de-force performance as a once young and idealistic aspiring architect who married a banker's daughter, fell into a lifestyle of afternoon snoozes and philandering, and proved incapable of holding onto what was important to him. His on-screen presence has also been directly linked to his earlier screen characterisations. In Prêt-à-Porter/Ready to Wear (Robert Altman, 1994), he was reunited with Sophia Loren, and at one point in the scenario, she recreated her famous steamy striptease sequence from Yesterday, Today, and Tomorrow. Loren was as beguiling as she had been 30 years earlier, but Mastroianni was no longer the attentive young lover, so Sophia's seductive moves only put him to sleep. Mastroianni's appearance in two of Fellini's final features is especially sentimental. Ginger e Fred/Ginger and Fred (Federico Fellini, 1996) is sweetly nostalgic for its union of Mastroianni and Giulietta Masina, two of the maestro's then-aging but still vibrant stars of the past. In Intervista (Federico Fellini, 1987), he appears as himself with Anita Ekberg, with whom he had starred decades before in La dolce vita. Mastroianni's entrance is especially magical; the sequence in which he and Ekberg (who, he remarks, he has not seen since making La dolce vita) observe their younger selves in some famous clips from that film is wonderfully nostalgic. In 1988, Mastroianni was honoured with a Lifetime Achievement Award at the European Film Awards. He kept appearing in critically acclaimed films like To meteoro vima tou pelargou/The Suspended Step of the Stork (Theodoros Angelopoulos, 1991), in which he was quietly poignant as an obscure man who may have once been an important Greek politician who had disappeared years earlier. Other films were Al di là delle nuvole/Beyond the Clouds (Michelangelo Antonioni, 1995) and Trois vies et une seule mort/Three Lives and Only One Death (Raúl Ruiz, 1996) with Anna Galiena. His final film was Viagem ao Princípio do Mundo/Voyage to the Beginning of the World (Manoel de Oliveira, 1997). Marcello Mastroianni was married to Italian actress Flora Carabella (1926-1999) from 1948 until his death. They had one child together, Barbara. Mastroianni also had a daughter, actress Chiara Mastroianni, with French film star Catherine Deneuve, his longtime lover during the 1970s. Both Flora and Catherine were at his bedside in Paris when he died of pancreatic cancer at the age of 72, as was his partner at the time, author and filmmaker Anna Maria Tatò. According to Christopher Wiegand and Paul Duncan in their book Federico Fellini, when Mastroianni died in 1996, the Fontana di Trevi (Trevi Fountain), which is so famously associated with him due to his role in Fellini's La dolce vita, was symbolically turned off and draped in black as a tribute. His brother Ruggero Mastroianni (1929-1996) was a highly regarded film editor who edited several of Marcello's films directed by Federico Fellini, and appeared alongside Marcello in Scipione detto anche l'Africano/Scipio the African (Luigi Magni, 1971), a comedic take on the once popular Peplum, the sword and sandal film genre. Marcello Mastroianni had held starring roles in about 120 films throughout his long career.
Sources: Elaine Mancini (Film Reference; updated by Rob Edelman), Hal Erickson (AllMovie), Jason Ankeny (AllMovie), Wikipedia and IMDb.
And please check out our blog European Film Star Postcards.
Was sad to hear of the recent passing of the actor Bernard Cribbins. So this is my small tribute to a fine actor who was the voice of "The Wombles" the annoying guest Mr Hutchinson in a Fawlty Towers episode and many other acting roles that a lot of us may remember from our childhood. But perhaps best remembered for playing Albert Perks the station porter in the 1970 all time great family film "The Railway Children" May he rest in peace.
Bernard Cribbins (1928- 2022)
© PJR 2022