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Vintage photo.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English-speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western, she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France, she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, 'Moi Claudia, Toi Claudia' (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema, she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
The caption reads "Ricky Renee: A versatile and outstandingly versatile impersonator of International Stature"
Versatile Eyeshadow Collection, is a set available for Lelutka EvoX, sold in the BOM version - FATPACK for 69L
ᴛʀʏ ᴀ ᴅᴇᴍᴏ ʙᴇғᴏʀᴇ ᴘᴜʀᴄʜᴀsᴇ
CC challenge: Week 2 Whats in your kitchen drawer?
CC Most Versatile: Diagonal
Memories, grandkids first knife, fork and spoon we had at ours. Tommee Tippee make.
Not sure age but the youngest grandkid is now 13 :-)
DADA kamikaze freeform
multi versatile
top wrap tunic shawl tunic
for self-aware individuals
who love to express
who they truly are
intuitive
knitting & crochet fusion
with integrated 3-ply Navajo knitting
using colorful recycled cone material
from flea-markets
This month there were 9 members fielding 74 images, 5 of whom played a full house of images; Jamie; Dave; Mrs P; Maria and Mic.
This montage is a representative selection of entries, with at least one image per member.
Thanks to Sharon for setting the challenge.
This is the corner of my desk - I just liked the pattern it made.
Also for the CC Versatile challenge on Wood.
My dad use to have a collection of PG teapots and now I have a couple of them.
Taken for CC Most Versatile for Feb 2019 but added a texture too for the CC Week 6 Texture challenge
Clay is very versatile and there are so many ways toddlers and preschoolers can play and experiment with it.
Clay gives them the opportunity to be creative and learn about texture, shape and form whilst having lots of fun.
In some areas, clay can be sourced from the natural environment. Alternatively, clay can be bought from an art shop or potters’ suppliers or you could make your own.
9 Benefits of playing with clay
1. Manipulating clay helps toddlers and preschoolers to develop their hand and eye co-ordination as they pound, pat and push the clay into shapes and objects.
2. Clay also helps toddlers and preschoolers develop the small muscles in their fingers and hands, known as fine motor skills, as they pinch, squeeze and prod the clay, adding detail to the shape or object.
3. Through this manipulation, toddlers and preschoolers can express their thoughts and ideas as they mould the clay to take on the form of their imagination.
4. Toddlers and preschoolers can experiment with literacy and numeracy concepts as they use clay to create letter, number and shape formations.
5. Facilitating toddlers and preschoolers to create their own name, their age, street address, or the names of people in their family makes learning meaningful.
6. Clay can also be used to visually represent your toddler's or preschooler's culture as it is moulded to represent meaningful symbols and patterns.
7. You can support your toddler or preschooler with clay play by providing an unhurried, spacious environment so that time can be spent developing and revisiting their work.
8. Regular access to clay provides toddlers and preschoolers with opportunities to build on their knowledge, verbalise their thoughts and ideas, and add detail to their work.
9. Skills toddles and preschoolers develop when playing with clay include imagination, perseverance, problem solving, teamwork, social interaction and self- regulation.
Versatility is my final project after a one year photographic course. All the pictures are made from my old pictures of flowers.
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
Summary:
Good Bridge Camera
Snappy Bridge Camera.
Versatile.
Wonderful Sweep Panorama.
The Canon PowerShot SX70 HS is probably the most versatile bridge camera - with ultra wide and ultra long range zoom - you can get in the market.
Styled like a small DSLR:
- a 'compact' with 608 g weight.
Integrated-lens cameras have an advantage for travellers because they eliminate the need to change lenses.
A formidable all-in-one travel compact camera for macro, architecture, outdoor and macros or moon shots.
While the camera is quite easy to use even for beginners, it still has a lot to offer to professional photographers.
-
The Canon PowerShot SX70 HS camera delivers an incredible zoom range:
wide-angle : 21 mm
Long range zoom: 1365 mm
useful Zoom plus with 2.0x converter: 2730 mm
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°
My first Review after 10.000 shots (February 2019)
- with some hints for handling with the SX70.
...
to be continued
pro and cons
My First rating and assessment:
Value was placed above all on the simplest operation and a slimmer equipment.
The target is the beginner, less the savvy photographer.
Therefore, the hot shoe and some menu items of the predecessor are missing.
! - No External Flash Shoe
SUMMARY
**** / of *****
i give 4 of 5 stars.
-------------------
Meine erste Wertung und Einschätzung:
Wert wurde vor allem auf einfachste Bedienung und einer schlankeren Ausstattungen gelegt.
Im Visier ist der Anfänger, weniger der versierte Photograph.
Deshalb fehlt auch der Blitzschuh und einige Menüpunkte des Vorgängers.
pro und Contra
-
4/5 Punkten
-->
Erste positive Einschätzung und
harte Kritik im Vergleich zu SX Vorgängern.
... mit ein paar Tipps zur Handhabung
... wird laufend ergänzt!
-
############# 2. Versuch #############
Canon USA hat den ersten Review nicht akzeptiert:
Also kürzer und Lobhudeln:
my Review
short Version was approved
"
★★★★★
5 stars of 5
Would definitely recommend.
*****
-
Good Bridge Camera
Snappy Bridge Camera. Versatile. Wonderful Sweep Panorama.
is now approved
and live
www.usa.canon.com/internet/portal/us/home/products/detail...
Average Customer Ratings
-
3.1 before my excellent ranged Review:
now
Overall Rating:
★★★★★
★★★★
3.3
others said:
Exactly As Advertised
...
The camera is a great size for traveling and
for a full day of photography.
Upgraded from SX40
There were so many features on my older camera that I didn't want to loose, including the optical sight. This is new and improved
...
.. reminder, the SX70 is not in the same league as the 5DS(R) or D850 cameras ...
As "superzoom" no matter how good,
it's still a "superzoom".
Especially a cam with such a tiny sensor.
...
Keep your expectations in check, while this camera will show image noise if you pixel peep 1x1 in low light situations if you really push the limits, just remember... a little work in ACR (*software tool) and your fine.
* ACR is the raw development utility module for Photoshop and Photoshop Elements.
ACR, Adobe Camera Raw
-
660 mm - ISO 125
1991 Ford Versatile 9030 4WD bi-directional loader tractor.
An import from the USA registered in April 1992.
Cheffins vintage and classic auction, Sutton -
"1991 FORD VERSATILE 9030 Bi-Directional diesel TRACTOR Reg. No. J110 JHG Serial No. D470150 Reported by the vendor to be a one owner tractor with 6,011 hours showing."
Unsold.
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thank you very much Sharon for choosing these fab themes, and thanks Linda for posting them.
In this month's challenge, 11 members entered 98 photos, and 7 members completed all 10 themes. These members, in play order were: Robin, Maria, Ms J, Pat, Sharon, Andy and Carissa.
This montage features at least one photo per person, and at least one photo per theme. To view the complete challenge and entries, click Here.
A versatile set to create a cosy little corner - with typical Fourth Wall modern style.
Includes accent chair with INM! & Physics API scripts, standing lamp, coffee table, open magazine, frames & plant.
Accent chair, frames, coffee table & plant pot all have texture options.
→
A tiny wardrobe workhorse
For such a small garment, this cropped sweater has had an outsized impact on my wardrobe.
This sweater was a thrift store find that I almost didn’t bring home. The pale color seemed likely to be stained. The open weave didn’t promise much warmth. And I wasn’t sure how the boxy, cropped shape would work with the rest of my (waist-conscious) wardrobe. In practice, I’ve found it to be quite versatile. I’m ok with occasionally “surrendering the waist.” It’s also surprisingly warm (layered) and I haven’t managed to stain it (yet).
Blazer, Diane von Furstenberg (consignment). Sweater, Forever 21 (thrifted). Blouse, Banana Republic. Skirt, Chaus Jeanswear (thrifted). Boots, Steve Madden. Sunglasses, Coco Sunglasses. Earrings, Charming Charlie.
Cheffins vintage and classic auction, Sutton -
"FORD 276 VERSATILE 4 cylinder diesel TRACTOR Fitted with front loader and pallet tines."
Unsold.
A 1911 Gold Sovereign, and two enamelled coins, a 'young Victoria' farthing 1850 and a 1889 'old Victoria' silver sixpence.
My theme today was "versatile". I drew a complete blank. I seriously had to Google the word to spur any ideas.
Today the Laowa 85mm f/5.6 2x Ultra Macro APO completed my light travel combo that also contains the TTArtisan f:5.6/28mm and the Leica Elmar-M f:2,8/50mm
DADA kamikaze freeform
multi versatile
top wrap tunic shawl tunic
for self-aware individuals
who love to express
who they truly are
intuitive
knitting & crochet fusion
with integrated 3-ply Navajo knitting
using colorful recycled cone material
from flea-markets
This is another skirt that an be worn with different colored tops.. This top is actually a very light tan.
Versatile the ability to adapt change become what ever or who ever you want to be, Always strive to be a chameleon there are so many phases colors and experiences. Never be afraid to take chances. From fear comes greatness.
Pants: tomoto slim pants black by tomoto,
Boots: A&Y Deuz Boots Metallic (Male) - Black by ☢A&Y Bunker CyberShop☢
marketplace.secondlife.com/p/AY-Deuz-Boots-Metallic-Male-...
Arm wraps: Caboodle Aiden Arm warmer by Caboodle
maps.secondlife.com/secondlife/TMD/129/205/22
Face Mask: Caboodle by Caboodle
maps.secondlife.com/secondlife/TMD/129/205/22
Hair Piece: Zibska: Radulfr Color Change Headpiece and Necklace by Zibska
marketplace.secondlife.com/p/Zibska-Radulfr-Color-Change-...
Neck piece: Zibska ~ Ortensia Deux Color Change Collar by Zibska
marketplace.secondlife.com/p/Zibska-Ortensia-Deux-Color-C...
Makeup: Dawg Shadow Eye Makeup - Unisex Makeup Tattoo Layer
by VANITY FLAIR by Lera - eyes, eyeliner, eyelashes, makeup
marketplace.secondlife.com/p/Dawg-Shadow-Eye-Makeup-Unise...
Flicker: www.flickr.com/photos/126589445@N02/
Blog: tazmanianalpha.wordpress.com/
Photo by Chezza Slade
The versatile 88mm cannon was Germany’s main heavy antiaircraft—or “flak”—gun during World War II. When an 88mm projectile exploded at altitude, it sent out jagged metal fragments that tore through nearby aircraft. It also left a characteristic black cloud hanging in the sky.
The 88mm cannon’s high-velocity fire also made it a deadly antitank gun, and it could be used as conventional artillery against distant ground targets. Other versions equipped heavy tanks and submarines.
The Museum’s 88mm cannon is painted as a typical weapon used in Europe during the strategic bombing campaign. The rings around the barrel represent aircraft shot down by the gun crew.
The Challenge
I recently posted about the decline of analog in the same week that I made a handful of 4x5 exposures and ran a roll of slide film through an oldie-but-goodie 35mm camera. Why use film when digital is so much more versatile, so much more of a pure medium? Precisely because it is a major challenge. My success rate with large-format is below 20%, but I did manage to grab this beautiful image of the Golden Gate Bridge, pre dawn.
Schneider Super Angulon 90mm f/8 at f/32, 360 second exposure, RVP 50, ~10mm rise
I also brought my digital camera along (as the most expensive light meter of all time) and made an image or two with it as well. The digital image is clearly a better image technically, but the joy of photography for me is at least half about the process and the experience. I have such fond memories of film - there's a peaceful feeling about not being able to look at the back of the camera to see the image. That forced focus on composition and exposure yields to a nervous anticipation of opening up the box when the processed film comes back in the mail. Film photography is artifactual in that you finish with a physical object as a representation of your effort and vision, and with reversal (slide) film, the artifact is all the more beautiful. When using a large format camera, there is the added bonus of getting back a transparency that is ENORMOUS by comparison to 35mm: big enough to hold up to the light and get the full effect.
Romanian postcard by Casa Filmului Acin. Claudia Cardinale and daughter Claudia Squitieri.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of the Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in the European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, Moi Claudia, Toi Claudia (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
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