Italian film director, born in Rome on February 6, 1895 and died on February 6, 1981 in Gardone Riviera (Roma).
He studied law and he/she enlisted in the Italian army during the first world war. Captured by the Germans and released at the end of the race, back to Italy he/she began working in film with his cousin Augusto Genina, who directed films from 1913. His first work was as a screenwriter and Assistant Director, but in 1923 he/she directed his first film: life and death of a clown.
During the silent period was not very prolific, in part by the almost ruinous State of the Italian industry after the war. Among the few references that are conserved of their first films stand out Voglio tradire mio marito (1925), a comedy in the style of Lubitsch on marital misunderstandings, and Kiff Tebbi (1927), shot entirely in Africa. He/She also shot outdoors that crooks are men! (1932), in which could already see some of the constants that characterize the neorealist movement (see cinematic neorealism), as interest in the working classes. Starring Vittorio De Sica and Lia Franca, it tells the story of love between a clerk and a chauffeur.
The following year he/she directed I will always love you (1933), in which mixed traditional melodrama with a touch of irony in the story of the seduction of a young peasant (Giorgio Elsa) by a count who abandons her. The social satire of this film became one of the hallmarks of Camerini as a filmmaker and was present in some of their best titles during the early years of the sound. Thus, for example, in Daro a milione (1936), in which Vittorio De Sica plays a millionaire to change their identity with a beggar. It is the first film as screenwriter of Cesare Zavatinni, one of the fundamental pillars of neorealism. Mario Soldati wrote next to the own Camerini under aristocratic costume (1937), another vehicle to De Sica, a true idol in Italy at the time. Another of his great films of recent years was the luxury version of the work of Pedro Antonio de Alarcón (1934) three-cornered hat, starring brothers Peppino and Eduardo de Filippo and of which Camerini directed then a second version, the beautiful peasant (1955), with De Sica, Sophia Lorenand Marcello Mastroianni.
The ascension to power of Mussolini and the second world war imposed heavy restrictions on industry. During those years said I will always love you (1943), review of his success from 1933 starring Alida Valli. Camerini and his screenwriter Sergio Amidei moved the action of the field to a hair salon in which worked Adrianna, the young man seduced and pregnant by the son of a banker. This melodrama is among the best work of Camerini.
During the post-war period it joined the neorealist explosion with little success and returned to the sentimental comedies and literary adaptations. In the 1950s he/she lived a moment of splendor addressing Ulises (1953), the first attempt of the Italian cinema of producing action films for the international market thanks to the presence of stars such as Kirk Douglas and Anthony QuinnAmerican. In the best tradition of the peplum, shot in his last years as director the mystery of the hindu Temple (1963) and Kali Jug (1964), vehicles for the showcasing American Lex Barker. He/She retired in 1972 after having made movies in virtually all genres and highlight mainly in comedy and melodrama. Nine years later, on his eighty-six birthday, he/she died in the Italian capital.
1923: Life and death of a clown (and screenwriter). 1924: casa La dei Pulcini (and argument); Saetta, principe per a giorno.1925: Voglio tradire mio maritto.1926: Maciste contro lo sceicco (and argument). 1927: Kiff Tebbi.1929: Rotaie (and adaptation). 1930: La riva dei brutti.1931: Figaro e sua Giornatta Gran (and art direction); L'ultima avventura (and co-writer). 1932: what scoundrels men are! (and coargumento, co-writer and art direction). 1933: I will always love you (and argument and art direction); Cento di questi giorni (Co-Director and argument); Giallo (and co-writer and art direction). 1934: Hat tricorn (and art direction); Come le foglie (and co-writer). 1935: Daro a milione (and co-writer). 1936: great call (and argument and co-writer); But it is not a serious thing (and co-writer). 1937: low aristocratic costume (and co-writer). 1938: innocent eyes (and co-writer); Department stores (and coargumento and Assembly). 1939: Il document fatale (and co-writer). 1940: one hundred thousand dollars (and co-writer); Romantic adventure (and co-writer); Boyfriends (and co-writer). 1941: regeneration (and coargumento and co-writer). 1943: love you always (and argument and co-writer). 1945: Due lettere anonime (and co-writer). 1946: L'angelo e il diavolo (and co-writer). 1947: the daughter of the captain (and co-writer). 1948: the broken illusion (and co-writer). 1950: the Calabrian Bandit (and co-writer). 1951: Due mogli sono troppe.1952: Moglie per a notte.1953: Sunday heroes (and coargumento and screenplay).1954: Ulises.1955: the beautiful peasant (and co-writer). 1956: Suor Letizia (and co-writer). 1957: Amores in Ischia (and co-writer). 1958: first love (and coargumento and screenplay). 1959: Via Margutta (and argument and co-writer). 1960: crime in Montecarlo.1961: revenge siciliana.1963: the mystery of the hindu Temple; Kali-Yug. 1966: crime almost perfecto.1971: Io non vedo, your non parli, lui non sente (and co-writer). 1972: Don Camilo e i giovani d'oggi (and co-writer).
Other works: 1920: Tre meno due (argument and ay from address). 1921: Moglie, marito e... (ay. address). 1923: Cyrano de Bergerac (co-writer and ay from address). 1937: at 11 tonight (co-writer). 1956: war and peace (co-writer).