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Marcello Mastroianni Poster

Biography

Jump to: Overview (5) | Mini Bio (1) | Spouse (1) | Trade Mark (3) | Trivia (16) | Personal Quotes (13)

Overview (5)

Date of Birth 28 September 1924Fontana Liri, Lazio, Italy
Date of Death 19 December 1996Paris, France  (pancreatic cancer)
Birth NameMarcello Vincenzo Domenico Mastrojanni
Nickname The Latin Lover
Height 5' 9¼" (1.76 m)

Mini Bio (1)

Marcello Mastroianni was born in Fontana Liri, Italy in 1924, but soon his family moved to Turin and then Rome. During WW2 he was sent to a German prison camp, but he managed to escape and hide in Venice. He debuted in films as an extra in Marionette (1939), then started working for the Italian department of "Eagle Lion Films" in Rome and joined a drama club, where he was discovered by director Luchino Visconti. In 1957 Visconti gave him the starring part in his Fyodor Dostoevsky adaptation Le Notti Bianche (1957) and in 1958 he was fine as a little thief in Mario Monicelli's comedy Big Deal on Madonna Street (1958). But his real breakthrough came in 1960, when Federico Fellini cast him as an attractive, weary-eyed journalist of the Rome jet-set in La Dolce Vita (1960); that film was the genesis of his "Latin lover" persona, which Mastroianni himself often denied by accepting parts of passive and sensitive men. He would again work with Fellini in several major films, like the exquisite (1963) (as a movie director who finds himself at a point of crisis) and the touching Ginger and Fred (1986) (as an old entertainer who appears in a TV show). He also appeared as a tired novelist with marital problems in Michelangelo Antonioni's La Notte (1961), as an impotent young man in Mauro Bolognini's Bell' Antonio (1960) , as an exiled prince in John Boorman's Leo the Last (1970), as a traitor in Paolo and Vittorio Taviani's Allonsanfan (1974) and as a sensitive homosexual in love with a housewife in Ettore Scola's A Special Day (1977). He was nominated for the Academy Award for Best Actor three times, for Divorce Italian Style (1961), A Special Day (1977), and Dark Eyes (1987). During the last decade of his life he worked with directors, like Theodoros Angelopoulos, Bertrand Blier and Raoul Ruiz, who gave him three excellent parts in Three Lives and Only One Death (1996). He died of pancreatic cancer in 1996.

- IMDb Mini Biography By: Thanassis Agathos<thanaga@hol.gr

Spouse (1)

Flora Carabella (12 August 1950 - 19 December 1996) (his death) (1 child)

Trade Mark (3)

Often played the "Latin Lover"
Often played outwardly light characters who are actually troubled
His dark good looks

Trivia (16)

Older brother of film editor Ruggero Mastroianni, who edited several of Marcello's films directed by Federico Fellini
From 1971 to 1975 he had an intense relationship with french actress Catherine Deneuve. She was at his bedside when he died, along with their daughter, Chiara Mastroianni.
Told interviewers that Federico Fellini hired him for La Dolce Vita (1960) because he had a "terribly ordinary face".
Federico Fellini nicknamed him "Snaporaz" while they are working on La Dolce Vita (1960); 20 years later this was the name of the character he played in City of Women (1980).
Since 1998, a "Marcello Mastroianni Award" is given to the best "first time" young actor/actress at the Venice Film Festival.
He is buried in the Cimitero Monumentale del Verano in Rome, Italy.
During his studies at the Centro Universiatio Teatrale, he got to know Luchino Visconti, who gave him a role in "Un Tram che si chiama desiderio" (A Streetcar Named Desire) under his direction. At that time, he also met Anna Magnani and Federico Fellini.
His three Oscar nominations for Divorce Italian Style (1961), A Special Day (1977), and Dark Eyes (1987) are the record for a performer in a foreign language film. The only other performers with multiple Oscar nominations for foreign language films are Sophia Loren, Liv Ullmann, Isabelle Adjani, Javier Bardem and Marion Cotillard with two each.
Former father-in-law of Benjamin Biolay.
Per a Mastroianni biographer, his mother revealed shortly before her deathbed that she was a Jewish immigrant from Belarus, a heritage she had previously hidden.
Played the son of Annibale Ninchi twice in La Dolce Vita (1960) and (1963).
Along with Dean Stockwell and Jack Lemmon, he's one of a few actors who had won twice the Best Actor prize at the Cannes Film Festival.
Appeared in 11 films that were lined-up for the Palme D'or at Cannes through the years: La Dolce Vita (1960), Divorce Italian Style (1961), Jealousy, Italian Style (1970), La Grande Bouffe (1973), A Special Day (1977), La terrazza (1980), La pelle (1981), That Night in Varennes (1982), Dark Eyes (1987), Splendor (1989) and Three Lives and Only One Death (1996). Of those, only La Dolce Vita (1960) won as Best Film while Jealousy, Italian Style (1970) and Dark Eyes (1987) earned him Best Actor accolades.

Personal Quotes (13)

To play Tarzan - at my age, with a big belly; even Cheetah with white hair. We've had enough strong and beautiful Tarzans! - at 60
I am not a sex addict.
I don't understand why these Americans have to suffer so much to identify with their characters. Me, I just get up there and act. It's great fun. There's no suffering in it.
(When asked what keeps him going in his theatrical endeavors) In front of a camera, I feel solid, satisfied. Away from it I am empty, confused.
They come for you in the morning in a limousine; they take you to the studio; they stick a pretty girl in your arms... They call that a profession? Come on!
I only exist when I am working on a film.
(on his views of women) Woman is the sun, an extraordinary creature, one that makes the imagination gallop. Woman is also the element of conflict. With whom do you argue? With a woman, of course. Not with a friend, because he accepted all your defects the moment he found you. Besides, woman is mother-have we forgotten?
(Talking about actors) Theater actors like to change character roles. They don't like to always do the same thing.
I made theater very important in the beginning of my career.
Each year we look for a big name that is attractive to the public and pleasant for the girls.
On his role in La notte (1961): I was a little bit disappointed because I felt that the character, this writer suffering a crisis, was a little bit conventional. Perhaps I would have preferred him to be more angry, more cynical, but then I probably wouldn't have been able to play him anyway. I suppose I felt that I had an example of a writer before me: my friend, Ennio Flaiano. And somehow or other, I don't know why, I felt that this writer should be like him, which obviously wasn't what Antonioni intended. So there was a sort of incomprehension between me and the director. As I went along I lost of that joy, that enthusiasm I had felt which had made me want to do the film. This was the state of mind I was while I was making the film. I would liked to be closer to Antonioni but it wasn't possible. I don't know if it was my fault or whether it was because he (and it is something he has always said) prefers not to have much interaction with the actors.
[Observation, 1962] I have nothing against Hollywood. But today's best films are being made in Italy. So why should I leave Rome?
[referring to Robert De Niro in Raging Bull (1980)] By nature the actor is a kind of wonder who can allow himself to change personalities. If you don't know how to do this, it's better to change professions. I think it's ridiculous to imagine that to play a taxi driver or a boxer you have to spend months and months 'studying' the life of cabdrivers and the weight of fighters.

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