Actor of cinema and Italian theatre, born on September 28, 1924 at Fontana Liri, Fosisnone, and died in Paris on 19 December 1996.
His childhood years were poor. He/She was born in a peasant family, which emigrated from the field to the big city, specifically to Rome, in order to improve their social situation in full mussoliniano fascism. In the capital, the small Marcello was able to study and make their way to be able to access the University. Breaking with the family circumstances, he/she studied architecture and economics, but without graduating. During his student he/she was attracted by the theater, whose activity combined with books, and appeared in the University environment. However, the prospects were truncated during the war. Marcello was locked in a concentration camp by the Germans, which however was able to escape.
At the end of the race, around the year of 1945, he/she returned to Rome and managed to find work as administrative in a film production company. Marcello took his professional relationship to recover his former hobby interpretation and leave as an extra in a movie, at the time it returned to acting in the theatre. In fact, had already worked "almost without being seen" in films like Marionette (1938), of Carmine Gallone, and the famous Crown of iron (1941), by Alejandro Blasetti.
Since then, Marcello Mastroinani continued linked to the world of cinema in a manner clearly professional, and during the 1950s was appearing in minor roles, but of greatest interest, in different productions. Include including a comedy, which has a certain significance among the public, three in love (1952), of Luciano Emmer, and Sunday heroes (1953), by Mario Camerini, where the theme of football jumped to the screen, as a demonstration of the social importance that would acquire, but giving a dramatic tinge that showed players from a perspective different from the usual. In those same years, Mastroianni was at the same time, acquiring a reputation as a theatrical actor, thanks to the insight of the director Luchino Visconti, who gave him the prominence of various works.
Fame inside and outside the borders of Italy came at the hands of three very different films, where had the opportunity to show versatility when it comes to embody different characters. When he/she was already something more than 30 years, Mario Monicelli directed Rufufú (1958). The film was inspired by a success of the detective film of United States - entitled Rififi (1955), which had been directed by Jules Dassin-, but Dassin film dramatic dyes were replaced by a comical and cartoonish tone in the Italian film. The film was a great success and it involved also Vittorio Gassman, Renato Salvatori and Claudia Cardinale.
Soon after, Federico Fellini directed La dolce vita (1960) - one of the most important film of his career, Chronicle of the Roman society formed by actresses, "starlets", journalists and paparazzi, dedicated to the sensational aspects of their lives, beginning to be reason of interest to some media and a society that will overcome the problems of war and begins a more affluent and developmental life. It won the Palme d'Or at Cannes and received a strong attack of L'Observattoe Romano, contradictorily, contributing to its commercial success. Mastroianni, become the main protagonist, is the journalist who serves as a hub to the narration and before whose eyes will run a world between superfluous, tragic and stupid which, however, cannot resign.
The following year, another of the major directors of the European cinema, Michelangelo Antonioni, gave the opportunity to a new triumph. This time the film was titled the night (1961). In her Marcello played a writer of works of success of intellectual character who sees how his marriage will be shedding, while the couple wander about the aspects of life and death, while relations that both maintain with its surroundings, in a tone of pessimism and slowness are displayed.
With these three interpretations Mastroianni stood in the first row of the European actors with a projection that was rising unceasingly culminating in the 1970s, decade in which took part in a lot of movies. Federico Fellini again call for Fellini 8 ½ (1963), in which a film director is preparing for the filming of a movie that has no idea how is going to develop, while the entire team is convinced that it will be a work of art. In the role of director Mastroiani conducted an interpretation that largely had been inspired by the personality of Fellini.
His activity in the 1960s closes with lovers (1968) and sunflowers (1970), both from Vittorio de Sica, two controversial films, in which shared Billboard with Faye Dunaway and Sophia Loren, respectively. The 1970s were supposed a real avalanche of titles for the actor. It was someone bound and enjoyed immense popularity, although, unlike other European actors, not felt the need to test in the United States. Mastroianni, in this sense, shows a figure of first order without the need of having the backing of the powerful Hollywood industry can be.
Although most of the time he/she worked with fellow countrymen, all the directors who in Europe have a prestige and fame are disputed actor Italian (John Boorman, Robert Altman, Roman Polanski , or Theo Angelopoulos), whose appearance on screen is a synonym of good interpretation, capacity of adaptation and attraction for the box office.
His work continued throughout the 1980s and in the 1990s was experienced a lower intensity. Age and health influences his professional activity, in the same way that physical deterioration is undermining him his ability to act. Among his latest interpretations should be noted its appearance in Pret-a-porter (1994), a comedy from Robert Altman, which although do not get the expected results, continues to be a curious vision about the banality of the world of fashion and modern art. The interpretation of Mastroianni, next to Sophia Loren, not ceased to be a kind of tribute to an actor last image. Two years later he/she collaborated with the director Roberto Faenza in the film holds Pereira (1996). However, his latest works are characterized by melancholy interpretations, in some works of twilight atmosphere.
Her love life has been hectic. While young married and never divorced, he/she had romances with various women, among which highlighted that remained with the American actress Faye Dunaway and, especially, the Frenchwoman Catherine Deneuve, with whom he/she had a daughter.
The career of Mastroianni is not easily classifiable. As soon as he/she was to taste in comedy, as he/she intervened in a rather cryptic film. There are those who think that, on many occasions, it overlapped to own films in which he/she acted and that despite the great personality of many of the directors with whom he/she worked. In any case Mastroianni has been for history as an actor in the classic and traditional of the word sense.
1938: Marionette. 1942: A storia d'amore; I bambini ci guardano. 1947: I miserabili. 1949: Oassaporto per l' Orient. 1950: A domenica d'agosto; Couri sul mari; Vent'anni; Dog's life; Contro legge. 1951: Paris, always Paris; Atto d' accused. 1952: L' eternal catena; Tragico ritorno; Three in love; Sensualita; Penne nere; The muta di portici. 1953: The heroes of Sunday; Non è mai troppo tardi; Febbre di vivere; Lulu; Il viale dalla speranza; Valigia dei sogni. 1954: The slave of sin; Cronache dei poveri amanti; Casa Ricordi; Tirma / Princess delle Canarie; The mutta di Portici; Our time; Days of love; The thief, his father and the taxi driver. 1955: The beautiful peasant; When sounds the Tam-Tam; Lucky to be a woman; The bigamist. 1957: Fathers and sons; White Nights; Doctor and the healer; Il più bello moment; Ragazza della salina. 1958: Rufufú; Sirens in society; Amore e guai; A hectare of heaven. 1959: the law; The enemy of my wife; Fernando I, Rei di Napoli; Pope has fallen in love. 1960: La dolce vita; Adua and friends; The beautiful Antonio. 1961: The murderer; Ghosts in Rome; The night; Private life; Divorce Italian. 1962: Family Chronicle. 1963: Fellini 8 ½; Yesterday, today and tomorrow; I compagni. 1964: Marriage to the Italian. 1965: Casanova 70; The victim number 10; Oggi, domani, dopodomani. 1966: Yo, yo, yo... and others; Shoot strong, stronger... not understand it; The flowers are of the devil. 1967: Abroad; The beautiful and his ghost. 1968: Lovers; L'UOMO dei palloni. 1969: diamonds via Moscow. 1970: Sunflowers; The woman of the cure; Giochi particolare; The last Leo; The demon of jealousy. 1971: Scipio Africanus; An Italian in Chicago. 1972: Anguish of a love; Rome; Correva l'anno di grazia 1870; Liza; What? 1973: Unexpected Saturday; Things to?; Death in Rome; You can not trust nor of the Stork; The great binge; What the artist's life! 1974: Allonsanfan; Don't touch the white woman; Three men, a woman. 1975: The old stairs, Pupa, Charlie and his Gorilla; Divine creature. 1976: The Sunday woman; Cuatrisce, noble veneziano; Signori e signora, buonanotte. All mode. 1977: Esposamante; A particular day; Double murder. 1978: As well as you are; Farewell to the male; Fatto di sangue fra due uomini par cause di a vedova, if sospettano moventi politici. 1979: God of love and vengeance; Great jam. 1980: I am Anna Magnani; The terrace; The city of women. 1981: Ghost of love; The skin; New mondo IL; Chi illumina grande notte?. 1982: Night of Varennes; Behind the door; The valse aux adieux. 1983: Piera history; Gabriela; Le general de l' Armée Morte. 1984: Henri IV. 1985: The late Matías Pascal; Macaroni; Ginger and Fred. 1986: Rufufú, twenty years later; The beekeeper; Enas Melissanconos Petreni. 1987: The interview; Black eyes; Miss Arizona. 1988: Splendor.1989: what time is it?. 1990: are all well?; Tchin Tchin; In the evening; Le pas suspendu de the cigogne. 1991: The thief of children; Autumnal romance. 1992: Ma saison préférée. 1993: That is not spoken; A deux trois soleil. 1994: La vera vita di Antonio H; Women's ready-to-wear. 1995: A hundred and one nights; Apart from the clouds. 1996: holds Pereira; Trois vies et une seule mort. 1997: Journey to the beginning of the world.
1997: Marcello Mastroianni: mi ricordo, if mi ricordo. 1999: Luchino Visconti.
DEWEY, Donald: Marcello Mastroianni. An intimate biography. Barcelona. Ediciones Paidós. 1994.
HOCHKOFLER, Matilde: Marcello Mastroianni. Il gioco del cinema. Rome. Gremese. 1992.