BRIGITTE BARDOT Israel FILM POSTER Movie SPAGHETTI WESTERN Claudia CARDINALE

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Seller: Top-Rated Seller judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 285674025776 BRIGITTE BARDOT Israel FILM POSTER Movie SPAGHETTI WESTERN Claudia CARDINALE.

DESCRIPTION : Here for sale is an EXCEPTIONALY RARE and ORIGINAL POSTER for the ISRAEL 1976 PREMIERE release of the SPAGHETTI WESTERN COMEDY film  " THE LEGEND OF FRENCHIE KING "  ( Also FRENCHIE KING or LES PETROLEUSES or THE PETROLEUM GIRLS ) , Directing by CHRISTIAN-JAQUE , Starring BRIGITTE BARDOT and CLAUDIA CARDINALE , Music by FRANCIS LAI in the small rural town of NATHANYA in ISRAEL. The cinema-movie hall " CINEMA SHARON" , An Israeli local version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND.  Fully DATED 1976 . Text in HEBREW  . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film. The Jewish - Judaica ISRAELI distributors of the film have given it a brand new Hebrew name " FIVE WOMEN ROBBERS to FIVE BANDITS " and added quite archaic and amusing HEBREW text. Size around 26" x 30" ( Not accurate ). Printed in red and blue . The condition is quite good . 2 folds . Somewhat stained . Mended tears at the bottom.  ( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.

AUTHENTICITYThe POSTER is fully guaranteed ORIGINAL from 1976 ( dated )  , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.   PAYMENTS : Payment method accepted : Paypal & All credit cards. SHIPPMENT : SHIPP worldwide via registered airmail is $  25  . Poster will be sent rolled in a special protective rigid sealed tube. Handling around 5-10 days after payment.  The Legend of Frenchie King (French: Les Pétroleuses) or Petroleum Girls a 1971 French, Spanish, Italian and British international co-production western comedy film directed by Christian-Jaque and starring Claudia Cardinale and Brigitte Bardot. Contents 1 Plot 2 Cast 3 Reception 4 See also 5 References 6 External links Plot[edit] In Bougival Junction, Texas in 1888 the Francophone town is led by Marie Sarrazin. A new family arrives, calling themselves the Millers, but in fact they are the daughters of the hanged outlaw Frenchie King. His eldest daughter Louise seeks to keep her father's name alive by donning men's clothing and continuing his criminal ways. Louise and Maria fight, but when they are jailed they team up to take revenge on the town's men.[2] Cast[edit] Claudia Cardinale as Marie Sarrazin Brigitte Bardot as Louise a.k.a. Frenchie King Michael J. Pollard as the Marshal Patty Shepard as Petite Pluie Emma Cohen as Virginie Teresa Gimpera as Caroline Oscar Davis as Mathieu Georges Beller as Marc Patrick Préjan as Luc Rocardo Salvino as Jean Henri Czarniak as Doc Miller Valéry Inkijnoff as Spitting Bull Micheline Presle as Aunt Amelie Denise Provence as Mlle. Letellier Leroy Hayns as Marquis José Luis López Vázquez as a barber Manuel Zarzo as a roulette player Jacques Jouanneau as M. Letellier Raoul Delfossé as Le Cornac France Dougnac as Elisabeth[3] Reception[edit] The film received generally negative reviews. Bardot's performance in particular was criticised by Jean Loup Passek, who noted how uncomfortable she seemed in the film's outdoors action setting.[4] Writing in Variety Gene Moskowitz dismissed the film as "predictable, naive and gauche" whilst Tom Milne called it "drearily unfunny".[5]Brigitte Anne-Marie Bardot[1][2] (French: [bʁiʒit baʁdo]; born 28 September 1934) is a French actress, singer, dancer, and fashion model, who later became an animal rights activist. She was one of the best known sex symbols of the 1950s and 1960s and was widely referred to by her initials, B.B.[3] Bardot was an aspiring ballerina in her early life. She started her acting career in 1952. She achieved international recognition in 1957 for her role in the controversial And God Created Woman. Bardot caught the attention of French intellectuals. She was the subject of Simone de Beauvoir's 1959 essay, The Lolita Syndrome, which described Bardot as a "locomotive of women's history" and built upon existentialist themes to declare her the first and most liberated woman of post-war France.[4] She later starred in Jean-Luc Godard's 1963 film Le Mépris. For her role in Louis Malle's 1965 film Viva Maria! Bardot was nominated for a BAFTA Award for Best Foreign Actress. From 1969 to 1978, Bardot was the official face of Marianne (who had previously been anonymous) to represent the liberty of France.[5] Bardot retired from the entertainment industry in 1973. She had acted in 47 films, performed in several musicals and recorded more than 60 songs. She was awarded the Legion of Honour in 1985 but refused to accept it.[6] After retiring, she became an animal rights activist. During the 2000s, she generated controversy by criticizing immigration and Islam in France and has been fined five times for inciting racial hatred.[7][8] Contents 1 Biography 1.1 Early life : 1934-1952 1.2 Career : 1952–1973 1.2.1 Stardom 1.2.2 The Truth 1.2.3 International films 1.2.4 Final films 1.2.5 Singing career 1.3 Animal welfare activism : 1973-present 2 Personal life 2.1 La Madrague 2.2 Relationships 2.3 Health 2.4 Politics and legal issues 3 Influence in pop culture 4 Filmography 5 Discography 6 Books 7 References 8 Literature 9 External links Biography[edit] Early life : 1934-1952[edit] Bardot was born a brunette[9] in Paris, the daughter of Louis Bardot (1896–1975) and Anne-Marie "Toty" Bardot (née Mucel; 1912–1978). Louis had an engineering degree and worked with his father, Charles Bardot, in the family business. Louis and Anne-Marie married in 1933. Bardot grew up in an upper middle-class Roman Catholic observant home.[10] When she was seven, Brigitte was admitted to the Cours Hattemer, a private school. She went to school three days a week, and otherwise studied at home. This gave time for lessons at Madame Bourget's dance studio three days a week.[11] Brigitte's mother also enrolled Brigitte's younger sister, Marie-Jeanne (born 5 May 1938), in dance. Marie-Jeanne eventually gave up dancing lessons and did not tell her mother, whereas Brigitte concentrated on ballet. In 1947, Bardot was accepted to the Conservatoire de Paris. For three years she attended ballet classes by Russian choreographer Boris Knyazev. One of her classmates was Leslie Caron. The other ballerinas nicknamed Bardot "Bichette" ("Little Doe").[12] At the invitation of an acquaintance of her mother, she modelled in a fashion show in 1949. In the same year, she modelled for a fashion magazine "Jardin des Modes" managed by journalist Hélène Lazareff. Aged 15, she appeared on an 8 March 1950 cover of Elle[13] and was noticed by a young film director, Roger Vadim, while babysitting. He showed an issue of the magazine to director and screenwriter Marc Allégret, who offered Bardot the opportunity to audition for Les lauriers sont coupés. Although Bardot got the role, the film was cancelled but made her consider becoming an actress. Her relationship with Vadim, who attended the audition, influenced her further life and career.[14][15] Career : 1952–1973[edit] Brigitte Bardot at the 1953 Cannes Film Festival. Bardot debuted in a highly popular comedy film starring Bourvil, Le Trou Normand (1952) (English title: Crazy for Love). She played the lead in Manina, the Girl in the Bikini (1953) from director Willy Rozier. She had a small role in The Long Teeth(1953), playing Vadim's wife, then had a leading role in a comedy starring Jean Richard, His Father's Portrait (1953). Bardot had a small role in a Hollywood-financed film being shot in Paris, Act of Love (1953), starring Kirk Douglas. She received media attention when she attended the Cannes Film Festival in April 1953.[15] Bardot had a leading role in an Italian melodrama, Concert of Intrigue (1954) and in a French adventure film, Caroline and the Rebels (1954). She had a good part as a flirtatious student in School for Love (1955), opposite Jean Marais for director Marc Allégret. Bardot played her first sizeable English-language role in Doctor at Sea (1955), as the love interest for Dirk Bogarde. The film was the third most popular movie at the British box office that year.[16] She had a small role in The Grand Maneuver (1955) for director René Clair, supporting Gérard Philipe and Michelle Morgan. The part was bigger in The Light Across the Street (1956) for director Georges Lacombe. She did another with Hollywood film, Helen of Troy, playing Helen's handmaiden. For the 1956 Italian movie Mio figlio Nerone Bardot was asked by the director to appear as a blonde. Rather than wear a wig to hide her naturally brunette hair she decided to dye her hair. She was so pleased with the results that she decided to retain the hair colour.[9] Stardom[edit] Brigitte Bardot during 1958 Venice Film Festival. Bardot then appeared in four movies that made her a star. First up was a musical, Naughty Girl (1956), where Bardot played a troublesome school girl. Directed by Michel Boisrond, it was co-written by Roger Vadim and was a big hit, the 12th most popular film of the year in France.[17] It was followed by a comedy, Plucking the Daisy (1956), written by Vadim with the director Marc Allegret, and another success at France. So too was the comedy The Bride Is Much Too Beautiful (1956) with Louis Jourdan. Finally there was the melodrama And God Created Woman (1956), Vadim's debut as director, with Bardot starring opposite Jean-Louis Trintignant and Curt Jurgens. The film, about an immoral teenager in a respectable small-town setting, was a huge success, not just in France but also around the world - it was among the ten most popular films in Britain in 1957.[18] It turned Bardot into an international star.[15] In 1958 the moniker "sex kitten" was invented for her.[19][20][21] During her early career, professional photographer Sam Lévin's photos contributed to the image of Bardot's sensuality. One showed Bardot from behind, dressed in a white corset. British photographer Cornel Lucas made images of Bardot in the 1950s and 1960s that have become representative of her public persona. Bardot followed And God Created Woman with La Parisienne (1957), a comedy co-starring Charles Boyer for director Boisrond. She was reunited with Vadim in another melodrama The Night Heaven Fell (1958) and played a criminal who seduced Jean Gabin in In Case of Adversity (1958). The latter was the 13th most seen movie of the year in France.[22] The Female (1959) for director Julien Duvivier was popular, but Babette Goes to War (1959), a comedy set in World War Two, was a huge hit, the fourth biggest movie of the year in France.[23] Also widely seen was Come Dance with Me (1959) from Boisrond. The Truth[edit] Her next film was the courtroom drama The Truth (1960), from Henri-Georges Clouzot. It was a highly publicised production, which resulted in Bardot having an affair and attempting suicide. The film was Bardot's biggest ever commercial success in France, the third biggest hit of the year, and was nominated for a Best Foreign Film Oscar.[24] She made a comedy with Vadim, Please, Not Now! (1961) and had a role in the all-star anthology, Famous Love Affairs (1962). Bardot was awarded a David di Donatello Award for Best Foreign actress for her role in A Very Private Affair (Vie privée, 1962), directed by Louis Malle. More popular in France was Love on a Pillow (1962), another for Vadim. International films[edit] Brigitte Bardot visiting Brazil, 1964. In the mid-1960s Bardot made films which seemed to be more aimed at the international market. In 1963, she starred in Jean-Luc Godard's film Le Mépris, produced by Joseph E. Levine and starring Jack Palance. The following year she co-starred with Anthony Perkins in the comedy Une ravissante idiote (1964). Bardot finally appeared in a Hollywood film in Dear Brigitte (1965), a comedy starring James Stewart as an academic whose son develops a crush on Bardot. Bardot's appearance was relatively brief and the film was not a big hit. More successful was the Western buddy comedy Viva Maria! (1965) for director Louis Malle, appearing opposite Jeanne Moreau. It was a big hit in France and around the world although it did not break through in the US as much as was hoped.[25] After a cameo in Godard's Masculin Féminin (1966), she had her first flop in a long time, Two Weeks in September (1968), a French–English co-production. She had a small role in the all-star Spirits of the Dead (1968), acting opposite Alain Delon, then tried a Hollywood film again: Shalako (1968), a Western starring Sean Connery, which was a box office disappointment.[26] Final films[edit] Bardot in 1968 Les Femmes (1969) was a flop, although the screwball comedy The Bear and the Doll (1970) performed slightly better. Her last few films were mostly comedies: Les Novices (1970), Boulevard du Rhum (1971) (with Lino Ventura). The Legend of Frenchie King (1971) was more popular, helped by Bardot co-starring with Claudia Cardinale. She made one more with Vadim, Don Juan, or If Don Juan Were a Woman (1973), playing the title role. Vadim said the film marked "Underneath what people call "the Bardot myth" was something interesting, even though she was never considered the most professional actress in the world. For years, since she has been growing older, and the Bardot myth has become just a souvenir... I was curious in her as a woman and I had to get to the end of something with her, to get out of her and express many things I felt were in her. Brigitte always gave the impression of sexual freedom - she is a completely open and free person, without any aggression. So I gave her the part of a man - that amused me.[27] "If Don Juan is not my last movie it will be my next to last," said Bardot during filming.[28] She kept her word and only made one more film, The Edifying and Joyous Story of Colinot (1973). Her career had traversed epochs where it was possible to say, "In the Sixties and early Seventies, there was no better known – or more scandalous – movie star on earth. Not since the death of Valentino had a star aroused such insane devotion in their fans."[29] In 1973, Bardot announced she was retiring from acting as "a way to get out elegantly".[30] Singing career[edit] She participated in several musical shows and recorded many popular songs in the 1960s and 1970s, mostly in collaboration with Serge Gainsbourg, Bob Zagury and Sacha Distel, including "Harley Davidson"; "Je Me Donne À Qui Me Plaît"; "Bubble gum"; "Contact"; "Je Reviendrai Toujours Vers Toi"; "L'Appareil À Sous"; "La Madrague"; "On Déménage"; "Sidonie"; "Tu Veux, Ou Tu Veux Pas?"; "Le Soleil De Ma Vie" (the cover of Stevie Wonder's "You Are the Sunshine of My Life"); and the notorious "Je t'aime... moi non-plus". Bardot pleaded with Gainsbourg not to release this duet and he complied with her wishes; the following year, he rerecorded a version with British-born model and actress Jane Birkin that became a massive hit all over Europe. The version with Bardot was issued in 1986 and became a popular download hit in 2006 when Universal Music made its back catalogue available to purchase online, with this version of the song ranking as the third most popular download.[31] Animal welfare activism : 1973-present[edit] In 1973, before her 39th birthday, Bardot announced her retirement. After appearing in more than forty motion pictures and recording several music albums, most notably with Serge Gainsbourg, she used her fame to promote animal rights. In 1986, she established the Brigitte Bardot Foundation for the Welfare and Protection of Animals.[32] She became a vegetarian[33] and raised three million francs to fund the foundation by auctioning off jewellery and personal belongings.[32] She is a strong animal rights activist and a major opponent of the consumption of horse meat. In support of animal protection, she condemned seal hunting in Canadaduring a visit to that country with Paul Watson of the Sea Shepherd Conservation Society.[34] On 25 May 2011 the Sea Shepherd Conservation Society renamed its fast interceptor vessel, MV Gojira, as MV Brigitte Bardot in appreciation of her support.[35] She once had a neighbour's donkey castrated while looking after it, on the grounds of its "sexual harassment" of her own donkey and mare, for which she was taken to court by the donkey's owner in 1989.[36][37] Bardot wrote a 1999 letter to Chinese President Jiang Zemin, published in French magazine VSD, in which she accused the Chinese of "torturing bears and killing the world's last tigers and rhinos to make aphrodisiacs". She has donated more than $140,000 over two years for a mass sterilization and adoption program for Bucharest's stray dogs, estimated to number 300,000.[38] In August 2010, Bardot addressed a letter to the Queen of Denmark, Margrethe II of Denmark, appealing for the sovereign to halt the killing of dolphins in the Faroe Islands. In the letter, Bardot describes the activity as a "macabre spectacle" that "is a shame for Denmark and the Faroe Islands ... This is not a hunt but a mass slaughter ... an outmoded tradition that has no acceptable justification in today's world".[39] On 22 April 2011, French culture minister Frédéric Mitterrand officially included bullfighting in the country's cultural heritage. Bardot wrote him a highly critical letter of protest.[40] From 2013 onwards the Brigitte Bardot Foundation in collaboration with Kagyupa International Monlam Trust of India has operated an annual Veterinary Care Camp. She has committed to the cause of animal welfare in Bodhgaya year after year.[41] On 23 July 2015, Brigitte Bardot condemned Australian politician Greg Hunt's plan to eradicate 2 million cats to save endangered species such as the Warru and Night Parrot.[42] Personal life[edit] La Madrague[edit] In May 1958, Bardot withdrew to the seclusion of Southern France, where she had bought the house La Madrague in Saint-Tropez. Relationships[edit] Bardot and Sami Frey in St. Tropez, 1963 On 21 December 1952, aged 18, Bardot married director Roger Vadim. They divorced in 1957, after less than five years of marriage; they had no children together, but remained in touch, and even collaborated on later projects. The stated reason for the divorce was Bardot's affairs with two other men. While married to Vadim, Bardot had an affair with Jean-Louis Trintignant, who was her co-star in And God Created Woman. Trintignant at the time was married to actress Stéphane Audran.[14][15] The two lived together for about two years, spanning the period before and after Bardot's divorce from Vadim, but they never married. Their relationship was complicated by Trintignant's frequent absence due to military service and Bardot's affair with musician Gilbert Bécaud.[14] In early 1958, her divorce from Vadim was followed in quick order by her break-up with Trintignant, and a reported nervous breakdown in Italy, according to newspaper reports. A suicide attempt with sleeping pills two days earlier was also noted, but was denied by her public relations manager.[43] She recovered within weeks and began an affair with actor Jacques Charrier. She became pregnant well before they were married on 18 June 1959. Bardot's only child, her son Nicolas-Jacques Charrier, was born on 11 January 1960. After she and Charrier divorced in 1962, Nicolas was raised in the Charrier family and had little contact with his biological mother until his adulthood.[14] Bardot's third marriage was to German millionaire playboy Gunter Sachs, and lasted from 14 July 1966 to 1 October 1969.[14][15] In 1968, she began dating Patrick Gilles, who went on to co-star with her in The Bear and the Doll (1970); but she ended their relationship in spring 1971.[44] Over the next few years, Bardot dated in succession bartender/ski instructor Christian Kalt, club owner Luigi Rizzi, musician (later producer) Bob Zagury, singer Serge Gainsbourg, writer John Gilmore, actor Warren Beatty, and Laurent Vergez, her co-star in Don Juan, or If Don Juan Were a Woman.[44][45] The longest of these relationships was with sculptor Miroslav Brozek; she lived with him from 1975 to December 1979[46] and posed for some of his sculptures. After breaking up with Brozek, she was in a long-term relationship with French TV producer Allain Bougrain-duBourg.[46] Bardot's fourth and current husband is Bernard d'Ormale, a former adviser of Jean-Marie Le Pen, former leader of the far right party Front National; they were married on 16 August 1992.[47] Health[edit] In 1974 Bardot appeared in a nude photo shoot in Playboy magazine, which celebrated her 40th birthday. On 28 September 1983, her 49th birthday, Bardot took an overdose of sleeping pills or tranquilizers with red wine. She had to be rushed to hospital, where her life was saved after a stomach pump was used to evacuate the pills from her body.[46] Bardot is also a breast cancer survivor.[48][49] Politics and legal issues[edit] Bardot expressed support for President Charles de Gaulle in the 1960s.[14][50] Her husband Bernard d'Ormale is a former adviser of the Front National, the main far right party in France, known for its nationalist and conservative beliefs.[4][15][50] In her 1999 book Le Carré de Pluton ("Pluto's Square"), Bardot criticizes the procedure used in the ritual slaughter of sheep during the Muslim festival of Eid al-Adha. Additionally, in a section in the book entitled, "Open Letter to My Lost France", Bardot writes that "my country, France, my homeland, my land is again invaded by an overpopulation of foreigners, especially Muslims". For this comment, a French court fined her 30,000 francs in June 2000. She had been fined in 1997 for the original publication of this open letter in Le Figaro and again in 1998 for making similar remarks.[51][52][53] Bardot and John Paul II in Rome, 1995. In her 2003 book, Un cri dans le silence (A Scream in the Silence), she warned of an "Islamicization of France", and said of Muslim immigration: Over the last twenty years, we have given in to a subterranean, dangerous, and uncontrolled infiltration, which not only resists adjusting to our laws and customs but which will, as the years pass, attempt to impose its own.[54] In the book, she contrasted her close gay friends with today's homosexuals, who "jiggle their bottoms, put their little fingers in the air and with their little castrato voices moan about what those ghastly heteros put them through" and said some contemporary homosexuals behave like "fairground freaks".[55] In her own defence, Bardot wrote in a letter to a French gay magazine: "Apart from my husband — who maybe will cross over one day as well — I am entirely surrounded by homos. For years, they have been my support, my friends, my adopted children, my confidants."[56] In her book she wrote about issues such as racial mixing, immigration, the role of women in politics, and Islam. The book also contained a section attacking what she called the mixing of genes and praised previous generations who, she said, had given their lives to push out invaders.[57] On 10 June 2004, Bardot was convicted for a fourth time by a French court for inciting racial hatred and fined €5,000.[58] Bardot denied the racial hatred charge and apologized in court, saying: "I never knowingly wanted to hurt anybody. It is not in my character."[59] In 2008, Bardot was convicted of inciting racial/religious hatred in regard to a letter she wrote, a copy of which she sent to Nicolas Sarkozy when he was Interior Minister of France. The letter stated her objections to Muslims in France ritually slaughtering sheep by slitting their throats without anesthetizing them first. She also said, in reference to Muslims, that she was "fed up with being under the thumb of this population which is destroying us, destroying our country and imposing its habits". The trial[60] concluded on 3 June 2008, with a conviction and fine of €15,000, the largest of her fines to date. The prosecutor stated she was tired of charging Bardot with offences related to racial hatred.[7] During the 2008 United States presidential election, she branded the Republican Party vice-presidential candidate Sarah Palin as "stupid" and a "disgrace to women". She criticized the former governor of Alaska for her stance on global warming and gun control. She was also offended by Palin's support for Arctic oil exploration and by her lack of consideration in protecting polar bears.[61] On 13 August 2010, Bardot lashed out at director Kyle Newman regarding his plan to make a biographical film on her life. She told him, "Wait until I'm dead before you make a movie about my life!" otherwise "sparks will fly".[62] Bardot expressed support for Front National leader Marine le Pen, calling her "the Joan of Arc of the 21st century".[63] She endorsed Le Pen in the 2017 French presidential election.[64] Influence in pop culture[edit] Brigitte Bardot statue in Búzios, Brazil In fashion, the Bardot neckline (a wide open neck that exposes both shoulders) is named after her. Bardot popularized this style which is especially used for knitted sweaters or jumpers although it is also used for other tops and dresses. Bardot popularized the bikini in her early films such as Manina (1952) (released in France as Manina, la fille sans voiles). The following year she was also photographed in a bikini on every beach in the south of France during the Cannes Film Festival.[65] She gained additional attention when she filmed ...And God Created Woman (1956) with Jean-Louis Trintignant(released in France as Et Dieu Créa La Femme). In it Bardot portrays an immoral teenager cavorting in a bikini who seduces men in a respectable small-town setting. The film was an international success.[15] The bikini was in the 1950s relatively well accepted in France but was still considered risqué in the United States. As late as 1959, Anne Cole, one of the United States' largest swimsuit designers, said, "It's nothing more than a G-string. It's at the razor's edge of decency."[66] She also brought into fashion the choucroute ("Sauerkraut") hairstyle (a sort of beehive hair style) and gingham clothes after wearing a checkered pink dress, designed by Jacques Esterel, at her wedding to Charrier.[67] She was the subject of an Andy Warhol painting. Bardot's fashion in 1961. The Bardot pose describes an iconic modeling portrait shot around 1960 where Bardot is dressed only in a pair of black pantyhose, cross-legged over her front and cross-armed over her breasts. This pose has been emulated numerous times by models and celebrities such as Lindsay Lohan, Elle Macpherson and Monica Bellucci.[68] In addition to popularizing the bikini swimming suit, Bardot has been credited with popularizing the city of St. Tropez and the town of Armação dos Búzios in Brazil, which she visited in 1964 with her boyfriend at the time, Brazilian musician Bob Zagury. The place where she stayed in Búzios is today a small hotel, Pousada do Sol, and also a French restaurant, Cigalon.[69] The town hosts a Bardot statue by Christina Motta.[70] Bardot was idolized by the young John Lennon and Paul McCartney.[71][72] They made plans to shoot a film featuring The Beatles and Bardot, similar to A Hard Day's Night, but the plans were never fulfilled.[15] Lennon's first wife Cynthia Powelllightened her hair color to more closely resemble Bardot, while George Harrison made comparisons between Bardot and his first wife Pattie Boyd, as Cynthia wrote later in A Twist of Lennon. Lennon and Bardot met in person once, in 1968 at the Mayfair Hotel, introduced by Beatles press agent Derek Taylor; a nervous Lennon took LSD before arriving, and neither star impressed the other. (Lennon recalled in a memoir, "I was on acid, and she was on her way out.")[73] According to the liner notes of his first (self-titled) album, musician Bob Dylan dedicated the first song he ever wrote to Bardot. He also mentioned her by name in "I Shall Be Free", which appeared on his second album, The Freewheelin' Bob Dylan. The first-ever official exhibition spotlighting Bardot's influence and legacy opened in Boulogne-Billancourt on 29 September 2009 – a day after her 75th birthday.[74] The Australian pop group Bardot was named after her.Claudia Cardinale (born 15 April 1938) is an Italian Tunisian film actress and sex symbol who appeared in some of the most acclaimed European films of the 1960s and 1970s, mainly Italian or French, but also in several English films. 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 Omar Sharif in Goha (1958), Cardinale became one of the best-known actresses in Italy after roles in films such as Rocco and His Brothers (1960), Girl with a Suitcase (1961), Cartouche (1962),The Leopard (1963), and Fellini's 8½(1963).[a] From 1963, Cardinale became known in the United States and Britain following her role in The Pink Pantheropposite David Niven. For several years, she appeared in Hollywood films such as Blindfold (1965), Lost Command (1966), The Professionals (1966), The Hell with Heroes (1968), and the Sergio Leone epic 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 husband, 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 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 Defense 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. Contents 1 Early life 2 Career 2.1 1950s 2.2 1960s 2.3 1970s 2.4 1980s 2.5 1990s 2.6 2000 to present 3 Personal life 4 See also 5 References 5.1 Notes 5.2 Citations 5.3 Sources 6 External links Early life[edit] Claudia Cardinale was born Claude Joséphine Rose Cardinale in La Goulette, a neighborhood of Tunis, French protectorate of Tunisia, on 15 April 1938.[4][5] Her mother, Yolande Greco, was born in Tunisia to Sicilian emigrants from Trapani.[6] Her maternal grandparents had a small shipbuilding firm in Trapani, but later settled in La Goulette, where a large Italian community existed. Her father, Francesco Cardinale, was a railway worker, born in Gela, Sicily.[6] 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, where she graduated 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[edit] 1950s[edit] French film director Jacques Baratier who spotted Cardinale Cardinale's first film work was participating, along with classmates, in a short film by French director René Vautier, Anneaux d'or, successfully presented at the 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 Center 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 leading 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 recognizable. 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] Cardinale in Pietro Germi's 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 Vento del sud, and played the wife of Maurizio Arena in Luigi Zampa's Il magistrato.[32] Cardinale also starred opposite Pietro Germi in his crime film Un maledetto imbroglio, an important assignment for her in mastering the craft of acting while learning to feel at ease in front of the camera.[33] Cardinale considered it to have been her first real test as an actress.[34] She then played the role of Maria in Ralph Thomas's British film Upstairs and Downstairs, which starred Michael Craig and Anne Heywood.[35] In her early roles, she was usually dubbed, as producers considered her voice too hoarse. [36] 1960s[edit] 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 nightclub singer and young mother in Valerio Zurlini's Girl with a Suitcase. As a result of her own experience of early motherhood, Cardinale naturally conveyed the concerns of a teenaged mother, identifying fully with the character of Aida.[44] Such was her psychological involvement that she needed several months to overcome her apprehensions and prepare for the part.[45] Zurlini chose her for such a difficult role against everyone's advice, as she was not yet considered a "real" actress, nor was she (yet) one of the most celebrated Italian beauties.[46] However, he was very close and supportive of Cardinale during the production, and a true friendship developed between the two, based on a deep mutual understanding. Cardinale remarked: "Zurlini was one of those who really love women: he had an almost feminine sensitivity. He could understand me at a glance. He taught me everything, without ever making demands on me. ... He was really very fond of me."[44] Cardinale was warmly praised by the critics for her performance in Girl with a Suitcase, Dennis Schwartz considering her to have been at her "charming best".[47] Later in 1961, Cardinale starred as a brothel owner opposite Jean-Paul Belmondo in Bolognini's La Viaccia. Both Girl with a Suitcase and La Viaccia were presented at the 1961 Cannes Film Festival. At the time, Cardinale was not considered comparable to the two divas of Italian cinema, Sophia Lorenand Gina Lollobrigida, but several newspapers and magazines including Paris Match began to consider her to be a credible young rival to Brigitte Bardot.[48] Cardinale's 1961 appearances also included Henri Verneuil's French comedy Les Lions sont lâchés,[49] and Auguste in which she had a cameo role. 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.[50] 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".[51] In 1962, Cardinale was interviewed by the writer Alberto Moravia, who focused exclusively on her sexuality and body image in film, treating her as an object. Cardinale remarked to him: "I used my body as a mask, as a representation of myself".[52] 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.[52] Just a few years later, she played a similar character in a film based on another novel by Moravia, Time of Indifference.[53] The finest and most prolific year of her career was 1963, when she appeared in a number of leading productions.[54] 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 8½. Both films were critically acclaimed and are often cited by critics and scholars as among the greatest films ever made.[55][56] 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.[57] Cardinale remembered Visconti's set as having an almost religious atmosphere, everything focused on the film, far removed the outside world. Visconti needed silence for his work while Fellini preferred noise and confusion.[58] 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.[59][60] Not until 8½ was she allowed to use her own voice.[59][61] 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."[57] With her portrayal of Angelica in The Leopard and her brief appearance as herself in 8½, Cardinale achieved the definitive status of a top-ranking star.[62] The same year, Cardinale portrayed a prostitute in La ragazza di Bube or Bebo's Girl,[63] 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.[64] 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.[65] Niven raved about working with the actress, telling her, "After spaghetti, you're Italy's happiest invention."[66] Cardinale with Burt Lancaster and Alain Delon in The Leopard (1963) In 1964, Cardinale starred alongside Rod Steiger and Shelley Winters in Francesco Maselli's Italian-made Time of Indifference. Thereafter, she spent three years in the United States, where starred in several Hollywood films. She told of how she benefited from the arrangement, explaining it was an American initiative at a time when they invited all the successful European actresses to perform in their pictures, hoping to create a monopoly. Many suffered from the experience, but she was able to hold her own: "I took care of my own interests, blankly refusing to sign an exclusive contract with Universal Studios. I only signed for individual films. In the end, everything worked out fine for me.[67] 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.[68] 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."[69] Filmwriter 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.[70] In 1964, she also played the lead role in The Magnificent Cuckold, based on the Belgian play Le Cocu magnifique.[71] She was at the height of her sensuality at the time, but later the film only brought back unpleasant memories for her as she experienced little empathy with the producer Antonio Pietrangeli, while the male star Ugo Tognazzi tried to seduce her.[72] In 1965, Cardinale appeared in Visconti's Vaghe stelle dell'Orsa, known as Sandra (Of a Thousand Delights) in the US and Of These Thousand Pleasures in the UK, playing a Holocaust survivor who may have had an incestuous relationship with her brother.[73] 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.[74] Diane Bond doubled for Cardinale in the film.[75] 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.[76] By 1966, Cardinale was being cited as the most popular film star in Italy, even more than Mastroianni and Loren.[60] 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."[60] 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 over-glamourized and exploited, like Sophia Loren, and although she had several further U.S. films lined up, stated: "If I have to give up the money, I give it up. I do not want to become a cliché."[60] Cardinale in Lost Command(1966) Cardinale in Nell'anno del Signore(1969) In 1966, a photograph of Cardinale was featured in the original gatefold artwork to Bob Dylan's album Blonde on Blonde(1966), but it was used without Cardinale's permission and removed from later pressings.[77] That year, she starred in Mark Robson's war picture Lost Command for Columbia Pictures opposite Anthony Quinn, Alain Delon, and George Segal. Quinn expressed his love of working with Cardinale, stating that although he adored Cardinale and Loren equally, "I relate easier to Claudia, Sophia creates an impression of something larger than life, something unobtainable. But Claudia – she's not easy, still she's within reach".[60] She also played a Mexican marquessa in Richard Brooks' Western The Professionals, uniting her on screen once again with Burt Lancaster in what she considered to be her best American film.[78] The following year, she appeared in Una rosa per tutti (A Rose for Everyone) and in Alexander Mackendrick's 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.[79] Leonard Maltin, though, described the film as "a gem".[80] 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 realized she was increasingly unable to make decisions about her own life.[81] The marriage was never made official in Italy.[82] In 1968, Cardinale featured opposite Franco Nero in The Day of the Owl, in a David di Donatello for Best Actress-winning performance. She reunited with Rock Hudson in the Italian-made criminal comedy A Fine Pair under director Francesco Maselli. She also appeared alongside Rod Taylor in The Hell with Heroes and starred in one of her best-known roles as former prostitute Jill McBain in Sergio Leone's epic Western Once Upon a Time in the West.[83] Such was the power of her performance as the whore that Leone's biographer Robert C. Cumbow described her as "permanently engraved in cinematic history" and noted how suited to the role she was: "Her sex-goddess appearance combines with her more mystical iconographic associations to ease the progress of Jill from tart to town builder, from harlot to earth mother, from sinner to symbol of America—the apotheosis of the harlot with a heart of gold."[84] In 1969, Cardinale starred opposite Nino Manfredi in Luigi Magni's Nell'anno del Signore, based on the actual story of the capital execution of two carbonari in papal Rome. This was followed by a role as a telephone operator in Certo certissimo ... anzi probabile, and as a nurse opposite Sean Connery and Peter Finch in Mikhail Kalatozov's The Red Tent, based on the story of the mission to rescue Umberto Nobileand the other survivors of the crash of the Airship Italia.[85] 1970s[edit] 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 Peter McEnery and Eli Wallach in Jerzy Skolimowski's comedy film The Adventures of Gerard, based on The Exploits of Brigadier Gerard by Arthur Conan Doyle.[86] In 1971, she formed a duo with Brigitte Bardot in the French Western-comedy The Legend of Frenchie King, and appeared as a prostitute opposite Alberto Sordiin Luigi Zampa's comedy A Girl in Australia. The film, shot on location in February and March 1971, earned Cardinale a Best Actress award at the David di Donatello Awards the following year.[87] In 1972, Cardinale appeared in Marco Ferreri's L'udienza, which was screened at the 22nd Berlin International Film Festival. She also featured in La Scoumoune with Jean-Paul Belmondo and Michel Constantin.[88] After a role as a Russian aristocrat opposite Oliver Reed in One Russian Summer (1973), set in prerevolutionary Russia, Cardinale starred opposite Franco Nero in I guappi (1974), a historical drama film with "poliziotteschi" and "noir" elements.[89] Cardinale and the director Pasquale Squitieri met for the first time on set, and he soon became her husband.[90] Cardinale in I guappi (1974) In 1975, Cardinale played the daughter of a political exile (Adolfo Celi) in Mauro Bolognini 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".[91] Later that year she appeared in the comedies The Immortal Bachelor with Vittorio Gassman and Qui comincia l'avventura with Monica Vitti. Vitti's biographer noted how Cardinale and Vitti stood out as the female duo in a predominantly masculine cast.[92] In 1976, Cardinale appeared in the sex comedy Il comune senso del pudore, which was directed and written by Alberto Sordi, who also co-starred.[93] The following year, she had a biblical role as the adulteress in the Jesus of Nazarethminiseries, which featured Robert Powell as Jesus, Anne Bancroft as Mary Magdalene, and Ernest Borgnine as Cornelius the Centurion.[94] Cardinale starred in her husband's Il prefetto di ferro, which tells the story of Cesare Mori (Giuliano Gemma), an Italian prefect that before and during the Fascist period was best known as "the Iron Prefect". The film shared the 1978 David di Donatello for Best Film award with In nome del Papa Re.[95] In 1978, Cardinale appeared in Damiano Damiani's political thriller, Goodbye & Amen – L'uomo della CIA, and again featured alongside Gemma in her husband's gangster picture, Corleone, set in 1950s Sicily.[96] 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).[97] The film, shot on location in Rhodes, was poorly received; it holds a 32% "rotten" rating on Rotten Tomatoes as of July 2015.[98] 1980s[edit] After a role in Si salvi chi vuole (1980), and a smaller part in Peter Zinner's The Salamander opposite Franco Nero, Anthony Quinn, and Christopher Lee,[99]Cardinale played the love interest of Marcello Mastroianni in Liliana Cavani's war picture The Skin, a film which also reunited her with Burt Lancaster.[100] The Skinwas entered into the 1981 Cannes Film Festival.[101] In 1982, Cardinale appeared in Werner Herzog's Fitzcarraldo, playing a successful brothel owner who funds Klaus Kinski's purchase of an old steamship in South America. The film, inspired by the story of Peruvian rubber baron Carlos Fermín Fitzcarrald was shot on location in Brazil and Peru. The film was critically acclaimed, with Vincent Canby of The New York Times calling it "a fine, quirky, fascinating movie" and a "stunning spectacle", comparing the dynamic between Kinski and Cardinale to Katharine Hepburn and Humphrey Bogart in John Huston's The African Queen. He pointed out that although Cardinale's screen time in the film was unfortunately not substantial, she set its comic tone; he praised the way she managed to turn Kinski, renowned for his volatile temperament and portrayals of megalomaniacs and criminals into a "genuinely charming screen presence", adding a new dimension to his acting career.[102] Later that year, Cardinale played opposite Pierre Mondy in the sex farce Le Cadeau, a role which biographers Lancia and Minelli claim was played with a "mature charm and expressiveness".[103] In 1983, Cardinale had a role in the Waris Hussein miniseries Princess Daisy, and featured alongside Lino Ventura and Bernard Giraudeau in the French-Canadian film Le Ruffian.[104] In 1984, she played the love interest of Marcello Mastroianni in a Marco Bellocchio production of Henry IV, based on the Luigi Pirandello play of the same name. It was entered into the 1984 Cannes Film Festival.[105] Squitieri's Claretta (1984), featuring Cardinale and Gemma, was entered into the competition at the 41st Venice International Film Festival. Cardinale's powerful performance as Claretta Petacci garnered her the Nastro d'Argento for Best Actress.[106] In 1985, Cardinale starred opposite Ben Gazzara and Lina Sastri in Alberto Bevilacqua's La donna delle meraviglie.[107] It entered the competition at the 1985 Venice International Film Festival.[108] In 1986, Cardinale was involved in the making of two films for television. In Comencini's La storia (from Elsa Morante's novel), Cardinale portrayed a widow raising a son during World War II. In her husband's Naso di Cane, a miniseries, Enrico Lancia and Roberto Poppi praised her for her "light comic touch".[109] In 1987, Cardinale starred opposite Peter Coyote, Greta Scacchi, and Jamie Lee Curtis in Diane Kurys's film A Man in Love (Un homme amoureux), Kurys's first English-language feature. It was entered into the 1987 Cannes Film Festival.[110] Cardinale's performance as Scacchi's cancer-stricken mother was praised by critics, with Desson Howe of The Washington Post highlighting the "warm and radiant" elements that she brought to the role,[111] and Hal Hinson, also of The Post, comparing Scacchi to having "the same kind of sensuality that Cardinale brought to her earlier roles".[112] After a role in the comedy, Blu elettrico (1988), Cardinale portrayed Yolande de Polastron, a favourite of Marie Antionette'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.[113] 1990s[edit] Cardinale in 1995 In 1990, Cardinale starred opposite Bruno Cremer in Cristaldi's Atto di dolore, and appeared in the Morocco-set Soviet-Italian production, La battaglia dei tre tamburi di fuoco.[114] In 1991, Cardinale featured alongside Richard Berry and Omar Sharif in Henri Verneuil's Mayrig (meaning "mother"), a film about the struggles of an Armenian family that emigrates to Marseilles in France from Turkey after the Armenian Genocide of 1915. Such was the success of the film that Verneuil made a sequel the following year, 588, rue Paradis, also featuring the cast. Cardinale was praised by critics for her role as the mother; the Armenian General Benevolent Union of America noted the "flawless performance of these intrepid actors, especially of Claudia Cardinale".[115] In 1993, Cardinale won the Leone d'oro alla carriera award at the Venice Film Festival, in which she was honoured along with Roman Polanski, Robert De Niro, and Steven Spielberg. Cardinale agreed to reunite with Blake Edwards, Herbert Lom, and Burt Kwouk to celebrate the 30th anniversary of The Pink Panther by making Son of the Pink Panther. It was Edward's last film, but was a critical and commercial failure, with critics despairing at the "painfully unfunny script" and the performance of Roberto Benigni as Clouseau, which earned him the Razzie Award for Worst New Star. As of July 2015, it has a rating of just 6% on Rotten Tomatoes based on 34 reviews.[116] 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.[117] In 1997, Cardinale featured in the British-Italian television drama miniseries Nostromo, directed by Alastair Reid and produced by Fernando Ghia of Pixit Productions, a co-production with Radiotelevisione Italiana, Televisión Española, and WGBH Boston.[118] It is described as "an adaptation of Joseph Conrad's epic story Nostromo of political upheaval, greed, and romance in turn-of-the-20th-century South America."[119] Cardinale and the cast were nominated for an ALMA Award for Outstanding Latino/a Cast in a Made-for-Television Movie or Mini-Series. Later in 1997, Cardinale appeared in the films Sous les pieds des femmes and her husband's Stupor Mundi, in which she portrayed Constance of Aragon.[120] In 1998, Cardinale portrayed the mother of Lola Naymark in the French picture Riches, belles, etc., a wealthy baroness who leaves her hotel to her daughter to care for during her absence.[121] The following year, Cardinale played the peasant mother of two children who are members of Carmine Crocco's (Enrico Lo Verso's) army during the 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.[122] 2000 to present[edit] Cardinale at the Women's World Awards in 2009 In 2000, Cardinale embarked on her stage career, starring in Maurizio Scaparro's stage production of La Venexiana, adapted by René de Ceccatty, at the Théâtre du Rond-Point in Paris.[123] 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,[124] portraying a character who spends her time in Fez, Morocco, with handsome gigolos.[125] The film was screened out of competition at the 2002 Cannes Film Festival.[126] 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.[125] 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.[127] In 2007, Cardinale appeared in the Aline Issermann comedy film Cherche fiancé tous frais payés, opposite Alexandra Lamy and Bruno Salomone,[128] in a role which Patrick Besson described as "atrocious".[129]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.[130] 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).[131] 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.[132] The Turkish-Italian co-production was shot in locations in Istanbul and Rimini.[133] In 2012, Cardinale featured opposite Jeanne Moreau and Michael Lonsdale in the final feature film to be directed by Portuguese director Manoel de Oliveira, Gebo and the Shadow. Critically acclaimed, it has a rare 100% rating on Rotten Tomatoes,[134] and was shown at the 69th Venice International Film Festival.[135] The Hollywood Reporter described it as the "ensemble of superb older performers who comprise the remainder of the dramatis personae".[136] In 2013, Cardinale starred alongside supporting actresses Patricia Black and Chloé Cunha in Nadia Szold's Joy de V.,[137] and had a role in Ernst Gossner's war drama The Silent Mountain, a love story set in the 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.[138] In 2014, Cardinale portrayed a "sympathetic Italian chaperone" viscountess in the British period drama film Effie Gray, which was penned by Emma Thompson and featured Dakota Fanning in the lead role.[139] 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...".[140] On 11 October 2018 she will receive the Tabernas de Cine award in the Almería Western Film Festival.[141] Personal life[edit] Claudia Cardinale met Italian film producer Franco Cristaldi in 1958.[21] According to Cardinale, the couple had a marriage party but did not marry [142] and they become increasingly detached. Cristaldi later married Zeudi Araya and had no further contractual relationships with Cardinale.[143] Cardinale lived with Pasquale Squitieri, an Italian film director, from 1975 to 2017, 42 years. Squitieri passed away on February 18, 2017 at age 78. She has two children: Patrick, who was born illegitimately when she was 19 and later adopted by Cristaldi,[144] and Claudia,[145] whom she had with Squitieri. She is fluent in Sicilian, Arabic, French, Italian, English, and Spanish.[146] Her niece Francesca is also an actress.[147] 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,[148] and was a goodwill ambassador for the UNESCO World Water Day for 2006.[149] Cardinale published an autobiography, with Anne Mori, Io Claudia, Tu Claudia in 1995.[7] She has been a regular attendee of the Academy Awards. Her awards have included an honorary Golden Lion at the 1993 Venice Film Festival, and an honorary Golden Bear at the 2002 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.[150][151] Cardinale said of her acting, "I never felt scandal and confession were necessary to be an actress. I've never revealed my self or even my body in films. Mystery is very important."[152] 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."[66]        ebay4535
  • Condition: Used
  • Condition: The condition is quite good . 2 folds . Somewhat stained . Mended tears at the bottom. ( Pls look at scan for accurate AS IS images )
  • Country/Region of Manufacture: Israel
  • Religion: Judaism

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