Clara Calamai - actress

Star remembered for groundbreaking moments in Italian cinema history

Clara Calamai enjoyed huge popularity with
Italian cinema audiences in the '30s and '40s

The actress Clara Calamai, best known for two Italian cinema classics of the 1940s and for a cult 1970s horror film, died in the Adriatic resort of Rimini on this day in 1998, at the age of 89.

Calamai’s career is generally seen to have peaked with her appearances in Luchino Visconti’s 1943 crime drama Ossessione and, three years later, in Duilio Coletti’s melodrama L’adultera, for which she won a Nastro d’Argento award as best actress.

She scaled down her career drastically after marriage but won fresh acclaim three decades later for her role as Marta, a murderous ageing actress in ‘Master of Horror’ Dario Argento’s box office smash Profondo Rosso.

For many years, Calamai was also known as the first woman to bare her breasts in Italian cinema - in a 1942 movie that not surprisingly caused scandal at the time - although it was later accepted that another actress, Vittoria Carpi, had beaten her to that claim to fame. 

Calamai, sometimes known as Clara Mais, was born in the Tuscany city of Prato, about 25km (16 miles) northwest of Florence, in 1909. She had two sisters, Vittorina and Paola, yet little is known about her early life before her big screen debut in Aldo Vergano’s 1938 historical epic, Pietro Micca.

She made a good living by accepting multiple parts in what then was a somewhat sanitised Italian film industry, which was regulated so tightly within the guidelines set by the Fascist authorities that approved film-makers were limited mainly to lightweight comedies and heroic costume dramas. 

Calamai in La Cena delle Beffe, a film
largely remembered for her 'nude' scene

Her ‘nude’ scene came relatively early in her career, although it scarcely constituted a scene, occupying just 18 frames of Alessandro Blasetti’s La Cena delle Beffe, a drama set in Renaissance Florence starring Amedeo Nazzari. Although it was so brief that an audience member could literally blink and miss it, the outrage provoked was such that minors under the age of 16 were not permitted to watch.

Despite the furore, the episode did no harm to Calamai’s career and her popularity maintained its upwards trajectory, putting her on a par with actresses such as Alida Valli and Valentina Cortese. It later transpired that Blasetti had already shown Vittoria Carpi's naked breast the previous year in La corona di ferro, although because Carpi was a young comparatively unknown actress, it attracted much less attention.

Indeed, the publicity generated may have helped Calamai land her most famous role, in 1943, when Visconti chose her to replace Anna Magnani, who was pregnant, in Ossessione, his debut film.

Co-written as well as directed by Visconti, the film was an adaptation of the 1934 novel, The Postman Always Rings Twice, by the American author, James M Cain. It was the second of seven adaptations of Cain’s novel, although Visconti’s - controversially - was not authorised or even credited.

The film was condemned by the Fascist regime for its unvarnished depictions of Italy’s working class population. But Calamai’s performance as Giovanna, who embarks on an affair with a young hobo and is eventually persuaded to murder her husband, was outstanding and the film is regarded today as a pioneering work of Italian cinema, perhaps the first neorealist film.

Calamai and co-star Massimo Girotti in a scene
from Luchino Visconti's 1943 drama Ossessione

Three years later, in Coletti’s L'adultera, her performance as Velca, a peasant woman who marries a wealthy but elderly landowner and goes on to be the adulteress of the title, resulted in Calamai winning a Nastro d’Argento - silver ribbon - award from Italian film critics as best actress of 1946.

The year before L’adultera’s success, Calamai had married Leonardo Bonzi, a former Italian tennis champion who also competed in bobsleigh at the Olympics. A qualified pilot, Bonzi was from noble stock and could call himself a count, if he so wished. They met when he embarked on a career in film directing and producing.

With the arrival of the first of their two children, Calamai severely limited her acting commitments, taking  parts only sporadically. She and Bonzi divorced in 1961, after which she began to accept invitations from directors she favoured. Her playing of a prostitute in Visconti’s Le notti bianchi reminded cinemagoers of her acting ability. She appeared on television, too, in a Rai adaptation of Henry Fielding’s 18th century novel, Tom Jones.

What turned out to be her final film was hailed as one of her finest. Cast as Marta, an eccentric multiple killer, Calamai’s performance in Dario Argento’s 1975 hit Profondo Rosso - Deep Red - turned her into something of a cult figure among fans of the director’s work. Argento would later describe the film, which starred David Hemmings as the musician who ultimately identified Marta as the murderer, as his greatest work.

Profondo Rosso kept Calamai in the public eye for a number of years but eventually she disappeared from view. After living alone in her home in Rome not far from Termini station, she spent her final years in Rimini, where her sister, Vittorina, had lived since starting a family.

She died there at the age of 89, reportedly following a heart attack. She is buried at the Cimitero Monumentale di Rimini, where the Emilia-Romagna resort’s greatest cinema icon, Federico Fellini, was laid to rest alongside his wife, the actress Giulietta Masina.

The Palazzo Pretorio is one
of Prato's notable buildings

Travel tip:

Prato, a city of just under 200,000 inhabitants, is less than 20 minutes by train from Florence, yet Clara Calamain’s home city is something of an overlooked gem among Tuscany's many attractions. Prato is the home of the Datini archives, a significant collection of late mediaeval documents concerning economic and trade history, produced between 1363 and 1410, as well as many artistic treasures, including frescoes by Filippo Lippi, Paolo Uccello and Agnolo Gaddi inside its Duomo, which has an external pulpit by built by Michelozzo and decorated by Donatello. The Palazzo Pretorio is a building of great beauty, situated in the pretty Piazza del Comune, and there are the ruins of the castle built for the mediaeval emperor and King of Sicily Frederick II.  Prato’s commercial heritage is founded on the textile industry and its growth in the 19th century earned it the nickname the "Manchester of Tuscany".

Rimini's Tempio Malatestiano has frescoes by
Piero della Francesca and paintings by Giotto

Travel tip:

Rimini has become one of the most popular seaside resorts in Europe, with wide sandy beaches and plenty of hotels and restaurants. But it is also a historic town with many interesting things to see. One of Rimini’s most famous sights is the Tempio Malatestiano, a 13th century Gothic church originally built for the Franciscans but which was transformed on the outside in the 15th century and decorated inside with frescoes by Piero della Francesca and works by Giotto and many other artists. Rimini had a role in the unification of Italy in the 19th century. It was there that Joachim Murat, the brother-in-law of Napoleon and King of Naples, issued his Proclamation in 1815, calling for all Italians to unite into a single people and drive out foreigners, namely the Austrians, who occupied large parts of northern Italy at the time. Although Murat was almost certainly acting out of self-interest at the time - he had just declared war on Austria and desperately needed support - the Proclamation is often seen as the opening statement of the Risorgimento.

Also on this day:

1559: The birth of painter and architect Cigoli

1744: The birth of architect Giacamo Quarenghi

1960: The birth of controversial conceptual artist Maurizio Cattelan

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Gino Cervi - actor

Star best known for Don Camillo and Maigret

Gino Cervi in his role as Peppone, the Communist
mayor, in the first of the Don Camillo film series

The actor Gino Cervi, a star of cinema and television screens in Italy for more than four decades as well as an accomplished stage performer, was born on this day in 1901 in Bologna.

Although his movie credits run to more than 120, he is probably best known for his portrayal of the Communist mayor Peppone in the Don Camillo films of the 1950s and ‘60s, and for playing Chief Inspector Maigret in the Italian TV series of the ‘60s and ‘70s based on the crime novels of Georges Simenon.

Cervi was the father of Italian film producer Tonino Cervi and the grandfather of actress Valentina Cervi.

Born Luigi Cervi in the historic Santo Stefano district of Bologna, Gino’s interest in acting had its roots in his journalist father Antonio’s job as theatre critic for Il Resto del Carlino, the city’s daily newspaper.

As a boy, he persuaded his father to take him to the theatre, soon developing an ambition to be a stage actor, which is where his talents first became known.

After his stage debut in 1924 - sadly, too late to be witnessed by his father, who died in 1923 - Cervi was invited the following year to join the company of the Teatro d’Arte di Roma, where the artistic director was the playwright, poet and future Nobel Prize winner Luigi Pirandello, working with actors of the quality of Lamberto Picasso, Ruggero Ruggeri and Marta Abba.

The writer Luigi Pirandello saw
Cervi's acting talent

After a decade in which his reputation grew year on year, he was invited to be lead actor at the Tofano-Maltagliati company, becoming an accomplished and lauded interpreter of the works of Goldoni, Sophocles, Dostoevsky and Shakespeare.  In 1938, jointly with with Andreina Pagnani, Paolo Stoppa and Rina Morelli, Cervi formed the company of the Teatro Eliseo in Rome, taking over as director in 1939.

By then he had already made his film debut but it was not until he formed a working relationship with Alessandro Blasetti, the director sometimes described as the father of modern Italian cinema, that his screen career really took off.

Blasetti directed him in a series of successful movies including Ettore Fieramosca (1938), Un'avventura di Salvator Rosa (1939) and La corona di ferro (1941), followed by 4 passi fra le nuvole (1942), the film considered to be the precursor of the neorealism movement that dominated Italian cinema for a period in the late 1940s and early ‘50s.

Yet Cervi’s star was to climb still higher in the 1950s, when he was chosen for the role of Peppone, the Communist mayor of a fictional town in northern Italy invented by writer Giovanni Guareschi, who is constantly at odds with the town’s rather hot-headed parish priest, Don Camillo.

The two characters made their screen debut in Le Petit Monde de don Camillo - The Little World of Don Camillo - in 1952, bringing fame both to Cervi and to Fernandel, the French comic actor cast as the priest. 

The movie, an Italian-French co-production directed by the French director Julien Duvivier, was the highest-grossing film of all-time in both Italy and France, attracting 13.2 million cinema admissions in Italy and 12.8 million in France. 

Cervi and Fernandel became firm friends and their on-screen relationship was central to the success of both the original feature and its four sequels between 1953 and 1965. A fifth was started in 1970 but was left unfinished because Fernandel was in failing health.

Cervi was oustanding in the role of
Commissario Maigret on TV

For Cervi, a further chapter of success came in the shape of his portrayal of the French detective Jules Maigret, created by Georges Simenon, in an Italian series commissioned for national broadcaster Rai by Andrea Camilleri, then working in television as a producer, who would later create his own characterful police detective, Salvatore Montalbano.

Le inchieste del commissario Maigret - The Investigations of Commissioner Maigret - had four series over the course of eight years, comprising a total of 35 episodes. There was also a spin-off movie, Maigret a Pigalle, which was produced by Tonino Cervi.

Again, Cervi’s interpretation of the character garnered considerable critical acclaim, even from Simenon himself.

Cervi was married for much of his adult life to Angela Rosa Gardini - known as Ninì - a young actress he met in 1928 and married soon afterwards. In later life, they divorced and he married Erika Mayer.

Once a committed supporter of the Fascist party, he took part in the March on Rome in 1922, but would later denounce Mussolini’s regime. He switched his allegiance to the Christian Democrats after World War Two and later joined the Italian Liberal Party, for whom he served as a councillor in Lazio.

Although he retained an affection for Casalbuttano ed Uniti, a town near Cremona in Lombardy where his father had a house, Cervi spent his final days on the Tuscan coast at Punta Ala, a tiny coastal village on a headland opposite the island of Elba, where he died in 1974 at the age of 72, not long after he had retired from the stage.

He is buried alongside his first wife and their son, Tonino, who died in 2002, at the Flaminio cemetery in Rome.

The Piazza Santo Stefano in Bologna, looking
towards the church of the Holy Sepulchre 

Travel tip:

The centrepiece of the Santo Stefano district of central Bologna, in which Gino Cervi’s family lived, is the Basilica di Santo Stefano, unusual in that it is actually a complex of seven religious buildings from different eras, clustered around Piazza Santo Stefano. It is known locally as the Sette Chiese - the Seven Churches - as a result. The original building, designed to resemble the church of the Holy Sepulchre in Jerusalem, was built according to tradition by Saint Petronius in the fifth century, when he was a bishop of Bologna, over the site of a pagan temple to Isis.  The other buildings include the Lombard church of the Crucifix, the church of the Calvario, the church of Saint Vitale and Saint Agricola - the oldest part of the complex, dating back to the fourth century - and the Church of the Trinity, which was restructured between the 12th and 13th centuries.

The bronze statue of Peppone
in front of Brescello town hall

Travel tip:

The town of Brescello on the south shore of the Po river, a little over 20km (12 miles) northeast of Parma in Emilia-Romagna, has become a tourist attraction since being chosen as the location for the Don Camillo films in which Gino Cervi starred. The town, which has its origins in the Roman era, has a museum dedicated to the characters of Don Camillo and Peppone, which can be found in Via Edmondo de Amicis, a few steps from Chiesa di Santa Maria Nascente, the town’s main church, which overlooks Piazza Matteotti, the central square in which there are bronze statues of Don Camillo (in front of the church) and Peppone (by the door of the town hall). The statues were created by Andrea Zangani, a sculptor from the nearby province of Mantova, to mark the 50th anniversary in 2001 of the first Don Camillo film. 

Also on this day:

1461: The birth of Renaissance cardinal Raffaele Riario

1469: The birth of writer and diplomat Niccolò Machiavelli

1764: The death of philosopher and art collector Francesco Algarotti

1815: The Battle of Tolentino

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Alessandro Blasetti - film director

Reputation tarnished by links with Mussolini

Alessandro Blasetti was one of the first directors
to use the techniques of neorealism in his films

Alessandro Blasetti, the film director sometimes referred to as ‘the father of Italian cinema’ for the part he played in reviving the film industry in Italy in the late 1920s and 30s, was born on this day in 1900 in Rome.

In his directing style, Blasetti was seen as ahead of his time, even in his early days.  His films were often shot on location, used many non-professional actors and had the characteristics of the neorealism that would make Italian cinema famous in the post-War years.

Yet he will forever be seen by some critics as an apologist for Fascism, a charge which stems mainly from his support for at least part of the ideology of Benito Mussolini, which led to a number of his films being interpreted as Fascist propaganda, although the evidence in some cases was rather thin.

The son of an oboe professor at Rome’s Accademia Nazionale di Santa Cecilia, Blasetti graduated in law from the Sapienza University of Rome.   Married in 1923, his first job was as a bank clerk but after a year he began to work as a journalist and wrote the first film column to appear in an Italian national newspaper.

He used his position to campaign for a revival of film production in Italy, which at that time had largely ground to a halt, despite Rome having been a major hub of the silent movie industry before the First World War.

Adriana Benetti and Gino Cervi in a scene from
Blasetti's 1942 film Quattro pasi fra le nuvole 

Blasetti helped begin the resurgence with his first movie, Sole – Sun – in 1929, with a storyline set against the real-life draining of the Pontine Marshes, south of Rome, a project organised by Mussolini.

Mussolini applauded the end result, declaring it to be ‘the dawn of the Fascist film’. Financed through a co-operative, it was not a commercial success yet it was significant in that Mussolini saw film as a way of spreading his message and would later invest much state funding in the Italian film industry.

Blasetti’s early neorealism was clear in 1860, a film made in 1934 about Garibaldi’s campaign to unite Italy as seen through the eyes of two peasants, again with much location filming and imbued with the same kind of visual starkness that would be associated with Luchino Visconti, Roberto Rossellini, Vittorio De Sica and others in the post-War years.

It can be argued that several of Blasetti’s 1930s films are critical of the Fascist regimes. Vecchio guardia - The Old Guard - recounts Mussolini’s 1922 March on Rome, which led to his ascension to power. Ironically, it was criticised by some in the Fascist government for having too few scenes of public enthusiasm for Il Duce.

Blasetti pictured in 1965

Blasetti, however, did not discourage Mussolini’s interest in his work and took every opportunity to lobby for state funding and support. One outcome was the construction of the large, state-of-the-art Cinecittà studios in Rome, which would give Italian filmmakers the resources to make a real impact.

A marked shift to neorealism came with Quattro pasi fra le nuvole – Four Steps in the Clouds – his 1942 story of a married salesman who agrees to save the honour of a pregnant girl he meets on a train by presenting himself to her family as her husband.

As well as his films, Blasetti’s notable contribution to Italian cinema was as founder of the school that was to become the Centro Sperimentale, Rome’s noted film study centre archive.  He died in Rome in 1987.

Coastal lakes or lagoons typify the Pontine Marshes

Travel tip:

The Pontine Marshes is a reclaimed area of land south of Rome, bordered roughly by the Alban Hills, the Lepini Mountains, and the Tyrrhenian Sea.  It was a marshy and malarial area that several emperors and popes tried unsuccessfully to drain and until the early part of the 20^th century it was inhabited by just a handful of shepherds. However, in 1928 the Fascist government drained the marshes, cleared the vegetation and built new towns, notably Littoria (now Latina) in 1932, Sabaudia in 1934, Pontinis in 1935, Aprilia in 1937, and Pomezia in 1939. By the Second World War the only untouched area was the Monte Circeo National Park. The area is now the most productive agricultural region in in Italy.

Travel tip:

The Centro sperimentale di cinematografia – the Italian national film school - was established in 1935. The oldest film school in Western Europe, it is still financed by the Italian government. It is located near Cinecittà, about 10km (6 miles) south-east of the centre of Rome along Via Tuscolana.

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