Paolo Sorrentino - film director

Seventh Italian director to win Best Foreign Film at Oscars

Paolo Sorrentino won an Oscar for
La grande bellezza in 2014

The film director Paolo Sorrentino, whose 2013 movie La grande bellezza won the Academy Award for Best Foreign Film, was born on this day in 1970 in Naples.

The award put him in the company of Federico Fellini and Vittorio De Sica in landing the Oscar for Best Foreign Film, a prize that has been won by only seven Italian directors in the history of the Academy Awards.

Fellini scooped the honour four times and De Sica twice. The other successful Italian directors are Elio Petri, Giuseppe Tornatore, Gabriele Salvatores and Roberto Benigni.

La grande bellezza - released for English-speaking audiences as The Great Beauty - was the first Italian winner since Benigni’s Life is Beautiful was named as Best Foreign Film in 1998.

Sorrentino’s 2021 semi-autobiographical movie The Hand of God - È stata la mano di Dio in Italian - was nominated for an Oscar but missed out to the Japanese drama Drive My Car.

Lauded for combining an expansive visual style with a sensitivity for psychological subtleties in his films, Sorrentino was born in the Arenella district of Naples, a relatively prosperous neighbourhood atop the Vomero hill. 

His adolescence was overshadowed by a personal tragedy when he was 16, when both his parents died after a carbon monoxide leak at the ski lodge they owned in central Italy

Actor Toni Servillo in his role as
Jep Gambardella in La grande bellezza 

Their son may well have died with them but on the fateful April day in 1987 Sorrentino was still in Naples, having stayed behind to watch his idol, Diego Maradona, play for SSC Napoli at the Stadio San Paolo, where he was a season ticket holder.

Understandably, Sorrentino took a long time to come to terms with being orphaned. Eventually, he obtained a place studying economics and business at university in Naples, after which he chose a career in the film industry, making his debut as a screenwriter on Antonio Capuano’s 1998 comedy, The Dust of Naples.

His first full-length feature L'uomo in più - One Man Up - brought him immediate recognition as an emerging talent. The film was selected at the 2001 Venice Film Festival, gaining three nominations for the David di Donatello from the Academy of Italian Cinema and winning the Nastro d'Argento, awarded by Italian cinema journalists, Best First Time Director.

More awards followed for Le conseguenze dell'amore (2004), L'amico di famiglia (2006) and Il Divo (2008), his dramatised biopic of the controversial veteran politician, Giulio Andreotti. 

Sorrentino’s talents also extend to writing: his 2010 novel Hanno tutti ragione - Everybody’s Right - was shortlisted for the Premio Strega, Italy’s most prestigious literary prize.

It was La grande bellezza  that saw him join such illustrious names as Fellini and De Sica in the roll call of great Italian directors.

Sorrentino (second right) and the cast of La grande
bellezza with president Giorgio Napolitano (right) 

Set in Rome, La grande bellezza has been compared to Fellini’s masterpiece La dolce vita in that its central character is a journalist, Jep Gambardella, who has spent his life immersed in the superficiality of Roman society nightlife, a debonair figure whose one novel brought him a literary acclaim that was enough to sustain his fame for decades.

On his 65th birthday, he learns that the woman who was his first sweetheart has died, having confessed to her husband that Gambardella had been the only man she truly loved.  The shock causes him to take stock of his life, becoming melancholy about what he might have been had he done more than merely charm his way through an easy life of nightclubs, parties, and cafés. Ultimately, he finds a new appreciation for the timeless beauty of Rome and rediscovers himself.

In addition to the Oscar, La grande bellezza won 18 other awards around the world, including a BAFTA and a Golden Globe.

Although it missed out on the Oscar, The Hand of God, which takes its title from the famous description Maradona made of the contentious goal he scored with his fist against England in the 1986 World Cup, won the Grand Jury Prize at the Venice Film Festival.

The film contains many parallels with Sorrentino’s own life in that its central character is an adolescent whose life is rocked by personal tragedy, against the background of Naples in the 1980s, when the arrival of Maradona to play for SSC Napoli not only transformed the fortunes of the club but the city itself.

A mist-shrouded Vesuvius seen
from the top of Vomero hill

Travel tip:

The Arenella district of Naples, where Sorrentino was born, borders Vomero, a largely residential area of central Naples with a number of buildings of historic significance. The most dominant, on top of Vomero Hill, is the large medieval fortress, Castel Sant'Elmo.  In front of the fortress is the Certosa San Martino, the former Carthusian monastery, now a museum.  The adjoining street, Largo San Martino, offers extraordinary views over the city towards Vesuvius.  Vomero's other tourist attraction is the Villa Floridiana, once the home of Ferdinand I, the Bourbon King of the Two Sicilies.  Surrounded by extensive gardens, the building now houses the Duke of Martina National Museum of Ceramics. 

Inside the Stadio Diego Armando Maradona in 
Naples, which can house 60,000 spectators

Travel tip:

The Stadio San Paolo - now renamed the Stadio Diego Armando Maradona - is Italy’s third largest football ground with a capacity of just over 60,000. Built in the Fuorigrotta neighbourhood on the north side of the city, it was completed in 1959, more than 10 years after work began and has since been renovated twice. The home of SSC Napoli, it was Maradona’s home stadium between 1984 and 1991, during which time the club won the Italian championship twice, having never before won the title in its history. The stadium hosted the 1990 World Cup semi-final, in which Maradona’s Argentina ended Italy’s hopes of reaching the final. 

Also on this day:

1594: The death of painter Tintoretto

1914: The death of Angelo Moriondo, inventor of the espresso coffee machine

1921: The birth of Andrew Grima, jeweller to the British Royal Family

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Ettore Scola - screenwriter and film director

Master of dark comedy and social drama

Ettore Scola is seen by some as the last
of the great postwar Italian directors

The screenwriter and director Ettore Scola, whose films encompassed elements of commedia all’italiana and neorealism, was born on this day in 1931 in Trevico, a mountainous village in Campania.

Scola, regarded by some as the last in the line of brilliant postwar Italian filmmakers, is best remembered for his 1977 drama Una giornata particolare (A Special Day), starring Sophia Loren and Marcello Mastroianni, which won a Golden Globe for Best Foreign Film in 1978.

A Special Day was also nominated for an Academy Award as were three other films that Scola directed or co-directed during a career that spanned more than 60 years.

Scola made his first movie as a director in 1964 with the comedy Se permettete parliamo di donne - Let’s Talk About Women - which starred Vittorio Gassman. He was only 33 but was already a widely respected scriptwriter, which had been his profession since the age of 21.

He had regularly sent suggestions for gags and sketches to the Italian comic actor Totò and others when he was a 15-year-old at high school.

Scola was born to parents who were themselves both actors.  His home village, high up in the Campanian Apennines more than 60km (37 miles) from the city of Avellino, had no cinema, but films were occasionally shown on a screen erected in the main square and Scola says he has memories of watching Laurel and Hardy shorts as a small boy.

Sophia Loren and Marcello Mastroianni in A
Special Day, regarded as Scola's finest work

In the late 1940s, he left the village to attend university in Rome, first to study medicine and then law but dropped out without graduating.  He found work on a satirical magazine called Marc’ Aurelio, where the director Federico Fellini was a member of the editorial board. The magazine had helped launch Fellini’s career and Scola found it opened doors for him, too.

Scola collaborated with directors such as Mario Monicelli, Dino Risi, and Antonio Pietrangeli, three giants of the commedia all’italiana genre. Often working in tandem with fellow writer Ruggero Maccari, he was part of Pietrangeli’s team for dramas including Adua and Her Friends (1960) and I Knew Her Well (1965). The two worked for Risi on comedies such as Il Sorpasso (1962) and I Mostri (1963).

Commedia all’italiana, which Scola once described as a natural off-shoot of gritty neorealism, was a genre that emerged in the late 1950s. The films had the traditional elements of bawdy comedy and farce but were at the same time a vehicle for examining the political and social issues of postwar Italy. “Serious” subjects such as marriage, religion, contraception and divorce were often looked at through the prism of satire and farce, sometimes causing deep offence to the Catholic Church.

Monica Vitti with Mastroianni (left) and Giancarlo
Giannini in Scola's Dramma della gelosia

Let’s Talk About Women and other early films by Scola brought some success at the box office while attracting no great critical acclaim, but that began to change in the ‘70s, which began with Dramma della gelosia (anglicised as The Pizza Triangle), which featured Monica Vitti as a florist in Rome torn between a middle-aged bricklayer (Marcello Mastroianni) and a young pizza chef (Giancarlo Giannini).

Between 1974 and 1977, Scola made three of his most important works: C'eravamo tanto amati (We All Loved Each Other So Much) in 1974, Brutti, sporchi e cattivi (Down and Dirty) in 1976 and Una giornata particolare (A Special Day) in 1977.

The first, a comedy starring Nino Manfredi, Satefania Sandrelli and Vittorio Gassman, followed three former partisan fighters as they returned to very different civilian lives in Rome. Consisting of interlinked stories, including one sequence in which Scola recreated the Trevi Fountain scene from Fellini's La dolce vita, it was described by one critic as “a loving homage to Fellini, De Sica and post-war Italian cinema”.

Brutti, sporchi e cattivi, again starring Manfredi, was particularly Felliniesque, a comedy of the grotesque featuring a large, impoverished Apulian family living on the wrong side of the law in Rome, headed by an irascible patriarch who wins a huge insurance payout for losing an eye but hides it from his family.

Four of Scola's movies were
nominated for Oscars

A Special Day was arguably Scola’s greatest triumph, a sensitive story of of two lonely residents of a seedy apartment building who are drawn together on the day in 1938 when the populace in the streets is cheering Hitler’s visit to Mussolini in Rome. He cast Sophia Loren as the repressed wife of a fervent Fascist, and Marcello Mastroianni as a gay man, an anti-fascist, who is waiting to be deported to Sardinia. The two become unexpectedly close.

After further Oscar nominations for I nuovi mostri (The New Monsters, also titled Viva Italia for English-speaking audiences) in 1978, Le Bal in 1983 and The Family in 1987, Scola made 10 more films before announcing his retirement in 2003, emerging again in 2013, when he directed Che strano chiamarsi Federico (How Strange to be Named Federico), an affectionate semi-documentary on his friend, Fellini.

Away from his film-making, Scola was often politically active. A member of the Italian Communist Party, in the late 1980s he was shadow culture minister. At around the time of his retirement, he was an outspoken critic of the right-wing populist, Silvio Berlusconi.

Upon Scola’s death in 2016 of pneumonia following heart problems at the age of 84, the then Italian prime minister, Matteo Renzi, said his passing “leaves a huge void in Italian culture”.

Steep streets are characteristic of the village
of Trevico, high in the Campania Apennines

Travel tip:

Trevico, Scola’s home village, has the distinction of being the highest inhabited place in Campania, situated at the top of a steep hill in the Apennines with an altitude of 3,576 feet (1,090m). The house where Scola was born and spent his early childhood is located among the alleys of the historic centre in a panoramic position and retains many of its original features. Now known as the Palazzo Scola and renovated after the damage suffered following the 1980 earthquake, in 2003 it was donated by the Scola family to the municipality of Trevico. 

The facade of Roma Ostiense railway station
was built entirely in Tavertine marble

Travel tip:

The suburban railway station of Roma Ostiense, the third largest in Rome after Termini and Tiburtina, owes its striking appearance to the visit to Rome by the German leader Adolf Hitler in 1938, which featured in Ettore Scola’s Golden Globe winner A Special Day. The existing rural station at Ostiense, about 5km (3 miles) south of the city centre close to the fashionable former working class neighbourhood of Testaccio, was demolished with the aim of creating a monumental station to receive the German dictator, although it was not actually finished until 1940. Architect Roberto Narducci designed the station, of which the entire facade is made of Travertine marble and the entrance is marked by a columned portico, in the architectural style favoured by Hitler.  A road built to connect the station with Porta San Paolo was initially named Via Adolf Hitler but was changed after the Second World War to Viale delle Cave Ardeatine, as a way of commemorating the victims of a mass killing of 335 civilians and political prisoners in Rome by the Nazi troops in 1944.

Also on this day:

1548: The birth of Antonio Priuli, Doge of Venice

1784: The birth of military general Carlo Filangieri

1922: The birth of journalist Antonio Ghirelli

1949: The birth of fashion designer Miuccia Prada

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La dolce vita - cinematic masterpiece

Commentary on decadence of 1950s Rome saw Fellini hailed as a genius

Marcello Mastroianni and Anita Ekberg in the
most famous scene from Fellini's classic

La dolce vita, a film still regarded as one of the greatest in cinema history, was screened in front of a paying audience for the first time on this day in 1960.

After a preview before invited guests and media at the Fiamma cinema in Rome, the Capitol Cinema in Milan was chosen for its public premiere. The movie went on general release in Italy the day afterwards and made its London debut on 8 February.  It was shown in America for the first time in April of the following year.

Directed by Federico Fellini, the film won the Palme d'Or, the highest award presented at the Cannes Film Festival in 1960 and was nominated for four Academy Awards, including Best Director for Fellini, although ultimately the production team had to be content with the Oscar for Best Costumes.

It won numerous awards in Italy, while the brilliant Nino Rota’s soundtrack was nominated for a Grammy.  In America, the National Board of Review and the New York Film Critics Circle made it their best foreign film of 1961.

Federico Fellini is remembered by many as
the greatest of all Italian film-makers

The film is episodic rather than having a conventional plot, following the life of Marcello Rubini, a somewhat jaded magazine gossip columnist portrayed by Marcello Mastroianni, over seven days and nights in the Rome of the late 1950s.

It is a decade in which the city, desperate to forget the shame of Fascism and the devastation inflicted on the country by World War Two, revels in everything modern and exciting about what feels like a reborn Italy.  The stars created by the country’s renascent movie industry, now joined by an influx of Americans and others, are the new gods and goddesses. Rubini, accompanied by his photographer friend Paparazzo, follows their every move.

Immersing himself in the glitzy nightlife around the capitol’s fashionable Via Veneto, the handsome, sharply-dressed Rubini himself indulges in the hedonistic pleasures on offer with only occasional restraint, much to the annoyance of his girlfriend, Emma.

But in Fellini’s story he is struggling with an inner conflict, at once chastising himself for the shallowness of his profession and his failure to make the most of his writing talent, but unable to resist the temptations of alcohol, easy sex and opportunities to behave outrageously that seem to present themselves each day.

Mastroianni became one
of Italy's biggest stars

Fellini conveys this, and delivers a critique on the state of an Italian society he is willing to see as in moral decline, through what is essentially a series of parables, in which the characters are sharply drawn and the scenes resonantly symbolic.

The episode in which Anita Ekberg, cast as a visiting Swedish starlet, lures Mastroianni to follow her, fully clothed, into the Trevi Fountain, is the one for which the film is most remembered, while the name of Paparazzo has entered the language to describe any photographer who pursues the rich and famous.

Yet it has a complexity that continues to intrigue, its near three-hour duration demanding that viewers return again and again to appreciate it in all its subtlety. Fellini’s fellow director Pier Paolo Pasolini wrote that "La dolce vita is too important to be discussed as one would normally discuss a film.”

More than 13.5 million Italians paid to watch the film, attracted not least by its controversial nature.  Its opening sequence, in which a gathering of bikini-clad girls interrupt their sunbathing to wave as a helicopter towing a statue of Jesus passes overhead, was condemned by the Catholic church as a parody of a second coming of Christ. In countries including Spain and Portugal it was banned for several years.

Fellini once said that the original germ of the idea for La dolce vita came from the fashion in the 50s for the so-called sack dress, a waistless garment that was tapered at the hemline but billowed out in the middle, which he imagined to represent a way in which a physically beautiful woman might conceal her moral shortcomings from view.

Others have speculated that he might have been influenced by the Montesi scandal that had reached its conclusion only two years before he began shooting.  The film ends when Rubini and others are partying on a beach at dawn when fishermen haul ashore a huge, ray-like fish that had become caught in their net and died.  The Montesi scandal, which linked Rome society figures to drug-fuelled orgies at a luxurious beachside villa, began when the body of Wilma Montesi, a 21-year-old woman who had gone missing in Rome the day before, was discovered lying face down at the water’s edge on a beach near the capital.

Nicola Salvi's Trevi Fountain, with the statue of
Oceanus by Pietro Bracci in the centre

Travel tip:

The Trevi Fountain, which was symbolically turned off and draped in black after Marcello Mastroianni died, was officially opened by Pope Clement XIII in 1762. Standing at more than 26m (85 feet) high and 49m (161 feet) wide, it is the largest Baroque fountain in Rome and probably the most famous fountain in the world. It was designed by a Roman architect, Nicola Salvi, but he died when it was only half finished. Made from Travertine stone quarried in Tivoli near Rome, the fountain was completed by Giuseppe Pannini, with Oceanus (god of all water), designed by Pietro Bracci, set in the central niche. Coins are traditionally thrown into the fountain by visitors, using the right hand over the left shoulder. It was once estimated about 3000 euros were thrown into the fountain each day, money that helped feed the city’s poorest citizens.

A picture postcard from Milan showing the
Capitol Cinema building 

Travel tip:

Milan’s former Capitol Cinema was located on the corner of Via Croce Rossa and Via dei Giardini, not far from Via Manzoni and Via Monte Napoleone.  Designed in the late 1930s, it was part of an imposing building that combined shops, offices and apartments. With seats for 1,350 people, it screened its first film in September 1949 and hosted many premieres, often attended by the directors and stars. The debut of La dolce vita attracted such a large crowd that windows were reportedly broken in the crush.  The film was so successful it continued to be shown at the Capitol for several months. Other famous Italian films to make their public debut there included Luchino Visconti’s Rocco and His Brothers (Rocco e i suoi fratelli) and Vittorio De Sica’s La ciociara, released outside Italy as Two Women, which featured an Oscar-winning performance by Sophia Loren.  Sadly, the Capitol’s popularity declined in the 1980s and it was closed permanently in 1984. Today the building houses a large clothes shop. 

Also on this day:

1578: The death of portrait painter Giovanni Battista Moroni

1932: The birth of football coach Cesare Maldini

1964: The birth of football coach Carolina Morace

The Festival of Saint Agatha of Sicily

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Silvana Pampanini - actress and singer

Postwar pin-up who preceded Loren and Lollobrigida

Silvana Pampanini combined acting talent with
star quality to become Italy's best paid actress

The actress and singer Silvana Pampanini, who starred in more than 50 films and was Italian cinema’s biggest box office draw in the 1950s, died on this day in 2016 in Rome.

She was 90 years old and had been hospitalized for some weeks following abdominal surgery. Her funeral took place at the Basilica di Santa Croce in Gerusalemme, in the Esquilino district to the southeast of the city centre.

Born in Rome into a family of Venetian heritage in 1925, she had ambitions to become an opera singer, inspired by the career of her aunt, Rosetta Pampanini, a noted soprano who sang at many of the world’s great opera houses.

She enrolled at the renowned Conservatorio Santa Cecilia in Rome, where her male teacher was so struck by her physical beauty that without her knowledge he entered her for the 1946 Miss Italy contest, the first to be staged after the end of World War Two.

Though taken aback at first, Pampanini was a confident young woman and went along with it. Indeed, the audience were so appreciative of her curvy figure, green eyes and long legs that when the jury awarded the title to Rossana Martini, another future actress, there was a near riot and police had to be called to restore order. Later, the result was amended and the contest declared a draw.

Pampanini was unashamedly promoted as a sex
symbol during the 1950s Italian cinema boom

Beauty contests were fertile ground for movie makers in search of the next starlet and although Pampanini wanted to be appreciated for her singing voice as well as her visual appeal it was the latter quality that producers were so keen to exploit.

After her screen debut in 1946, her fame grew steadily and her photo frequently appeared on the front covers of Italy’s booming weekly magazines. Her father, who initially disapproved of her dream of becoming a movie star, soon changed his mind and became her agent. By 1951, when she starred alongside Delia Scala in Carlo Campogalliani’s musical comedy Bellezze in bicicletta - Beauties on Bicycles - and as the Empress Poppea in Mario Soldati’s comedy, OK Nerone, she was the highest paid actress in Italy and was making up to eight films per year.

Those titles unashamedly showcased her pin-up status but Pampanini was not without talent as an actress. Titles such as Luigi Comencini’s drama La Tratta delle bianche - The White Slave Trade - Paolo Moffa’s La principessa delle Canarie - The Princess of the Canaries - Gianni Franciolini’s Racconti Romani - Roman Tales - and Dino Risi’s Il Gaucho - The Gaucho - saw her perform opposite major actors such as Vittorio Gassman, Marcello Mastroianni, Totò and Vittorio De Sica.

La strada lungo un anno won
a Golden Globe in 1958

In 1958 she took a part in Giuseppe De Santis's La strada lungo un anno - The Road a Year Long - which won the Golden Globe award for best foreign film and was nominated for an Oscar in the same category.

She became popular as far afield as Egypt, Mexico and Japan as well as in Spain and France, where she was known as Niní Pampan. She became a worldwide symbol of Italian beauty alongside such stars as Lucia Bosè and Silvana Mangano, and later Sophia Loren and Gina Lollobrigida.

There were countless offers to take her appeal to Hollywood, but Pampanini baulked at the idea of spending hours learning English and turned them all down. 

Nonetheless, she travelled extensively, happy to be a smiling ambassador for Italian cinema In Europe, South America, North Africa and even the Soviet Union, often appearing on local TV shows or accepting invitations to be a guest panel member at film festivals. 

Although she was frequently linked romantically with co-stars such as Orson Welles, Omar Sharif, William Holden and Tyrone Power, she never married, despite having, in her own words, ‘more suitors than headaches’ in her life.

She rejected an offer of marriage from comic actor Totò because of his age - he was 27 years’ her senior. There were rumours of affairs with the Cuban leader, Fidel Castro, and Egypt’s King Farouk, who were both said to be smitten after meeting her.

Pampanini with the comic actor Totò, one of
a number of suitors she ultimately rejected

Pampanini was pursued with particular ardour by the Greek-born producer Moris Egas, who showered her with jewels and furs and other valuable items. When she ultimately rejected him, he took legal action to try to recover his gifts but lost the case.

Later, in an autobiography entitled Scandalamente perbene - Scandalously Respectable - she claimed that the love of her life had been an older man - another actor - who had died a month before they were to wed, but she declined to name him. 

Pampanini had a fiery temperament. After the Miss Italy contest that shot her to fame, she gave a radio interview alongside her joint-winner that had to be curtailed when the two began to quarrel and pull each other’s hair. Years later, at the Venice Lido Film Festival, she physically attacked a journalist who had been unkind to her in a magazine article.

Her career effectively came to an end in her mid-60s, when she gave up full-time work to look after her elderly parents. After they died, she moved for a while to Monte Carlo and lived in relative obscurity.  She made some TV appearances, the last of which was in 2002.

Rome's Parioli district is an upmarket residential
area notable for its tree-lined streets

Travel tip:

The Parioli district, where Pampanini lived at the height of her fame, is one of Rome's wealthiest residential neighbourhoods. Located north of the city centre, it is notable for its tree-lined streets and elegant houses, and for some of Rome's finest restaurants. The Auditorium Parco della Musica and the Villa Ada, once the Rome residence of the Italian royal family and surrounded by the second largest park in the city, can also be found within the Parioli district, which takes its name from the Monti Parioli hills.

The entrance to the historic
Conservatorio in Via dei Greci

Travel tip:

The Conservatorio di Santa Cecilia, where Silvana Pampanini trained as a singer, dates back to 1875. It was set up under the auspices of one of the oldest musical institutions in the world, now known as the Accademia Nazionale di Santa Cecilia, which was established in 1565. The Conservatorio can be found in Via dei Greci, not far from the Spanish Steps in central Rome. The Academy is located at the Parco della Musica in the northern part of Rome in Viale Pietro de Coubertin in the Flaminio district, close to the location of the 1960 Summer Olympic Games.

Also on this day:

Befana - Italy’s 6 January tradition

1695: The birth of oboist and composer Giuseppe Sammartini

1819: The birth of painter Baldassare Verazzi

1907: The first Montessori school opens in Rome

1938: The birth of singer and actor Adriano Celentano

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Piero Piccioni – film composer and lawyer

Politician’s son gave up legal practice to write movie scores

Piccioni gave up a career as a
lawyer to compose film music

Pianist, conductor and prolific composer Piero Piccioni was born on this day in 1921 in Turin in the northern region of Piedmont.

A self-taught musician, Piccioni became  a composer of film soundtracks, writing more than 300 scores, themes and songs for top directors such as Francesco Rosi, Luchino Visconti, Bernardo Bertolucci, Roberto Rossellini and Vittoria De Sica.

Piccioni had come into contact with the film industry during the 1950s while practising as a lawyer in Rome and working to secure movie rights for Italian distributors such as Titanus and  De Laurentiis.

His interest in music had started as a result of being taken to concerts by his father, Attilio Piccioni, who was a prominent Christian Democrat politician who served several times as deputy prime minister. 

Although Piccioni never studied music formally, he became a talented musician by teaching himself. He had listened to jazz during his childhood  and was a fan of Art Tatum and Charlie Parker. He was also influenced by 20th century classical composers and American cinematography and he started writing songs of his own.

Piccioni played the piano on radio for the first time in 1938 with his ‘013’ Big Band but did not go on air again until after the liberation of Italy in 1944. He had the distinction of being the only Italian pianist ever to play for Charlie Parker after he was called upon to substitute for the pianist Al Haig on a television programme filmed in New York in 1949.

Piccioni's musical ability was
entirely self-taught

While Piccioni was still a practising lawyer, he was contacted by Michelangelo Antonioni and asked to write a score for a documentary film directed by Luigi Polidoro, one of his apprentices.

His first feature film was Il mondo le condanna in 1952, after which he gave up law to write music full time. He wrote the music for most of the films that comic actor Alberto Sordi either took part in or directed. Many of the themes he composed for Sordi went on to become popular hits.

Piccioni won many prestigious prizes for his music, including the David di Donatello Award for the 1975 film Swept Away and the Nastro d’Argento award for the 1962 film Salvatore Giuliano. He also won the Anna Magnani award in 1975, the Vittorio De Sica Award in 1979 and the Prix International Lumiere in 1991.

In 1953, Piccioni had been implicated in the Montesi scandal, which followed the discovery of a dead Italian woman on a beach near Rome. He was given an alibi for the time of death by the actress Alida Valli who said he was with her at Carlo Ponti’s villa in southern Italy. He was acquitted of any involvement in the death at a trial three years later and a journalist who had written about Piccioni recanted his allegations after legal action was taken against him.

Piccioni died in Rome in 2004 at the age of 82, leaving a widow, the former musical star Gloria Paul, and their two children, Jason and Valentina.

Turin is a city of understated elegance
with a vibrant café culture

Travel tip:

Turin, the capital city of the region of Piedmont, where Piero Piccioni was born, has some fine architecture that illustrates its rich history as the home of the Savoy Kings of Italy. Piazza Castello, with the royal palace, royal library and Palazzo Madama, which used to house the Italian senate, is at the heart of ‘royal’ Turin.  An elegant, stylish and sophisticated city, Turin has much to commend it, from its many historic cafés to 12 miles of arcaded streets and some of the finest restaurants in Piedmont. In the 19th century, the city’s cafés were popular with writers, artists, philosophers, musicians and politicians among others, who would meet to discuss the affairs of the day.

The 'ancient Rome' set is one of the 
highlights of the Cinecittà studio complex

Travel tip:

Rome, where Piero Piccioni lived for many years of his life, became the hub of the Italian film industry because of Cinecittà, a large studio complex to the south of the city, built during the Fascist era under the personal direction of Benito Mussolini and his son, Vittorio. The studios were bombed by the Allies in the Second World War but were rebuilt and used again in the 1950s for large productions, such as Ben Hur. These days a range of productions, from television drama to music videos, are filmed there and Cinecittà has its own dedicated Metro stop.

Also on this day:

1478: The birth of Baldassare Castiglione, courtier, diplomat and writer

1586: The birth of astronomer Niccolò Zucchi

1794: The birth of opera singer Luigi Lablache

1975: The birth of businessman Andrea Agnelli

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Enzo Staiola - actor

Child star of neorealist classic Bicycle Thieves

Director Vittorio De Sica was struck by
Enzo Staiola's naturally expressive eyes

Enzo Staiola, who found international fame as an eight-year-old boy as one of the stars of the Oscar-winning neorealist drama Bicycle Thieves, was born on this day in 1939 in Rome.

Staiola’s character in Vittorio De Sica’s 1948 film was Bruno Ricci, the eldest child in a working class Roman family desperately trying to survive in the hard economic climate that followed the end of the Second World War.

The central character in the film is Bruno’s father, Antonio, who lands a job posting advertising bills around the city but is required to have a bicycle to transport himself, his ladder and bucket to wherever his services are required.

Antonio buys a bicycle after pawning some of the family’s few possessions of value only to have it stolen on his first day at work. The remainder of the film follows Antonio and Bruno as they try to find the bicycle.

The essence of the neorealist genre was that directors achieved authenticity by eschewing the use of professional actors in favour of ordinary people who lived in the city or neighbourhood where the action was set. 

De Sica chose Lamberto Maggiorani, a steel factory worker, to play the part of Antonio, turning down the chance to employ established Hollywood star Cary Grant.

Staiola with his Bicycle Thieves co-star Lamberto
Maggiorani, a factory worker who played his father

He picked Staiola as his Bruno almost by chance, after filming had already started. He recalled speaking to Maggiorani about what he wanted in the next scene when a crowd gathered round in the street where they were shooting. He noticed there was a young boy with particularly expressive eyes. It was Enzo. 

Unable to break off filming, De Sica dispatched an assistant to find out where the boy lived. In interviews years later, Staiola remembered being followed by a car as he walked home from school and, fearing he was about to be kidnapped, running as fast as he could until he reached the building, in Via Capo d’Africa, not far from the Colosseum, where his family lived.

The following day, De Sica decided to stage impromptu auditions in front of the building in the hope that Enzo would be curious enough to want to know what was going on.  Enzo did not disappoint and as he emerged from the building De Sica walked across to him, telling his crew ‘He’s the one.’

Staiola and another young hopeful took part in screen tests in front of De Sica, taking turns to act out the same scenes, but the director’s mind was made up. Staiola remembered being offered the part but being envious when the unsuccessful candidate was given a new bicycle as consolation for missing out.

Vittorio De Sica was a master
of the neorealism genre

Although Bicycle Thieves was given a decidedly lukewarm reception when it was released in Italy, where critics and audiences craved escapism rather than reminders of life’s daily struggles, in time it came to be regarded as a masterpiece was was cited by numerous film-makers as one of their biggest influences.

Released in the United States as The Bicycle Thief, the movie was named best foreign language film at the 22nd Academy Awards in 1950, winning a BAFTA - awarded by the British Academy of Film and Television Arts - as overall best film in the same year. 

Despite the success of Bicycle Thieves, Staiola’s acting career did not sustain him into adulthood. He appeared in another 12 films as a child, including, in 1954, a small part in The Barefoot Contessa, which starred Humphrey Bogart and Ava Gardner, but soon afterwards the parts began to dry up.

Thereafter, although he accepted cameo roles in two films as an adult, he lived a relatively anonymous life, working for many years in the offices of Rome’s catasto - land registry.

Now 81, he still lives in the Garbatella neighbourhood of Rome, where his family had its roots.

Garbatella is regarded as a charming district
with a village feel within the city

Travel tip:

Many of the houses in the Garbatella district of Rome - which adjoins the Testaccio and San Saba neighbourhoods to the south of the city - were created originally with the intention of housing workers on a proposed canal linking central Rome with the port of Ostia. In the event, the project never happened and the area was instead populated by families displaced when Mussolini flattened parts of the city to build the Via della Conciliazione, which leads to St Peter’s Square, and the Via dei Fori Imperiali, linking Piazza Venezia with the Colosseum. Nowadays, it is regarded as a charming neighbourhood characterised by streets lined with climbing bougainvillea and small squares with a village feel.

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Rome's Colosseum is very close to Via Capo
d'Africa, where Staiola lived as a boy

Travel tip:

Via Capo d’Africa, where Staiola lived when he was given the part in Bicycle Thieves, is literally opposite the Colosseum, one of Rome’s most famous monuments. Built of travertine, tuff, and brick-faced concrete, the Colosseum was the largest of all the Roman amphitheatres. Construction began under Vespasian in 72AD and was completed by his son, Titus, in 80 with further modifications were made during the reign of Titus’s younger brother, Domitian (81–96), the three emperors who made up the Flavian dynasty. It is estimated the amphitheatre could hold up to 80,000 spectators.  It is thought that, having been known first as the Flavian Amphitheatre, it became known colloquially as the Colosseum because of its proximity to a colossal statue of Nero.

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Also on this day:

1848: The murder of government minister Pellegrino Rossi

1905: The birth of conductor Annunzio Mantovani

1922: The birth of film director Francesco Rosi

1940: The birth of fashion designer Roberto Cavalli

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Francesca Bertini - silent movie actress

Diva described as Italy’s first film star

Francesca Bertini appeared in 
almost 150 movies in her career

The actress Francesca Bertini, one of the three so-called divas of Italy’s silent movie era, died on this day in 1985 in Rome at the age of 93.

Between her screen debut in 1907 and her effective retirement in 1935, Bertini appeared in 139 titles. Her last appearance came in 1976, at the age of 84, when the director Bernardo Bertolucci persuaded her to accept a cameo in his epic historical drama, Novecento (1900).

Bertini, Lyda Borelli and Pina Menichelli were regarded as Italy’s three biggest female stars of the silent movie years and though Borelli came to be seen as the most talented of the three, there is no doubt that Bertini was a woman of outstanding ability. She has been described as Italy's first film star.

Her most famous film, Assunta Spina, a 1915 production, not only saw her take the title role but write scripts and direct many of the scenes, introducing a level of realism into the performances that was ahead of its time.

Bertini’s birth was registered in 1892 at an orphanage in Florence as Elena Taddei, although it is unclear whether Taddei was the name of her father. Her mother was said to be Adelina di Venanzio Fratiglioni, an unmarried woman who was thought to have been an actress herself. After 1910, when her mother married Arturo Vitiello, she was known as Elena Seracini Vitiello.

Vitiello was thought to be a furniture dealer who had connections with the theatre in Naples as a propman and Bertini’s first experiences of acting came in the southern city. In fact, her debut came in a stage production of Assunta Spina, a short story that its Neapolitan author, Salvatore Di Giacomo, had turned into a play.

Francesca Bertini in a scene from her
most successful movie, Assunta Spina 

Her early film roles included Lucrezia Borgia, Cordelia in King Lear, Manon Lescaut in a screen adaptation of Puccini’s opera and by 1915 she had already clocked up 50 credits and was becoming known everywhere that silent films were taking off.

The success of such films as Histoire d’un Pierrot (1914), Sangue bleu (1914), Nelly la gigolette (1915) and La signora delle camelie (1915) saw Bertini able to negotiate substantial pay deals and significant artistic input.

In interviews later in life, Bertini declared her pride in Assunta Spina, claiming she was the first to suggest shooting scenes in the street rather than on stage sets and using members of the public as extras, to a degree that it should be seen as a forerunner of the Neorealism that put Italian cinema on the map in the postwar years.

Bertini had the opportunity to take her career to Hollywood in 1920 as the Fox Film Corporation offered her a contract. However, she turned it down. Recently married to Paul Cartier, a wealthy Swiss banker, she wanted to move with him to Switzerland. 

After 10 films in 1920 alone, Bertini significantly reduced her output once married, winding down her career further once Mussolini’s Fascists began to introduce censorship.  After the third of three adaptations of Odette, based upon the play by Victorien Sardou, in 1935, she went 15 years without making another screen appearance.

When Bertolucci invited Bertini to appear in Novecento, part of a cast that included Robert De Niro, Gerard Depardieu, Donald Sutherland, Laura Betti, Stefania Sandrelli, Alida Valli and Burt Lancaster, it was taken as a tribute to her own talent and to the stars of the silent movie era.

Bertini returned to Rome after the death of her husband and spent her final years in the Italian capital.

The Florence duomo dominates the skyline of
Italy's beautiful Renaissance city

Travel tip:

Florence, Bertini’s birthplace, remains one of the most beautiful cities in Europe, largely on account of its wealth of art and architecture, the visible legacy of its history as the cradle of the Renaissance. Its duomo - the Cattedrale di Santa Maria del Fiore - with its enormous dome by Filippo Brunelleschi and campanile by Giotto, towers above the city and is the dominant feature of almost every cityscape. The focal point of the city is the Piazza della Signoria, which contains several important sculptures and statues, including a copy of Michelangelo's David - the original is in the Galleria dell'Accademia - outside the Palazzo Vecchio, Bandinelli's Hercules and Cacus, just to the right of the David, and the Nettuno by Ammannati.   Under the Loggia dei Lanzi, to the right of Palazzo Vecchio, the statue of Perseus holding Medusa's head, by Benvenuto Cellini, alongside Giambologna's Rape of the Sabines.

A reconstruction of ancient Rome is part of
the Cinecittà complex in the south of the city

Travel tip:

The centre of the movie industry in Rome is Cinecittà, the largest film studio in Europe, spreading over an area of 100 acres with  22 stages and 300 dressing rooms. Situated six miles south of the city centre, it is the hub of the Italian film industry. Built during the Fascist era under the personal direction of Benito Mussolini and his son, Vittorio, the studios were bombed by the Allies in the Second World War but were rebuilt and used again in the 1950s for large productions, such as Ben Hur. These days a range of productions, from television drama to music videos, are filmed there.

Also on this day:

54: The death of Claudius, Roman emperor

1815: The execution of Napoleon’s chief aide in Italy, Joachim Murat

1884: The birth of anarchist Mario Buda

1899: The birth of sportsman and entrepreneur Piero Dusio

(Florence picture by Andrea Spallanzani from Pixabay)

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Mariangela Melato - actress

Versatile star excelled on stage and screen

Mariangela Melato was admired and
respected for her screen and stage work

Mariangela Melato, who won acclaim for her work with the brilliant and sometimes controversial director Lina Wertmüller, played a camp villain in the comic book send-up Flash Gordon, and later excelled as a classical stage actress, was born on this day in 1941 in Milan.

She enjoyed her peak years on screen in the 1970s, most notably in Wertmuller’s The Seduction of Mimi, Love and Anarchy and Swept Away.

From the mid-80s onwards, Melato was based at the Teatro Stabile in Genoa, where she played many of the great classical parts in works by authors such as Pirandello, Euripides and Shakespeare. 

She made her mark in television, notably winning praise for her portrayal of Mrs Danvers in an Italian adaptation of Daphne du Maurier’s Rebecca in 2008. 

Melato’s father emigrated to Italy from Nazi Germany, changed his name from Honing to Melato and became a traffic policeman in Trieste. He moved to Milan and met his future wife, who worked as a seamstress. 

Their daughter showed a talent for art and enrolled at the Brera Academy in Milan but was interested in acting and as a teenager employed her artistic talents working as a window dresser at the Milan department store La Rinascente, which helped pay for acting lessons.

After making her stage debut in 1960, she became part of a touring company directed by the comedian and playwright Dario Fo. She appeared in productions by Luchino Visconti and a celebrated performance of Ludovico Ariosto’s Orlando Furioso, directed by Luca Ronconi, at the Spoleto Festival.

Melato with Giancarlo Giannini in Wertmüller's
Swept Away, regarded as among her finest work

Her film debut came in 1969 in Pupi Avati's horror fantasy, Thomas e gli indemoniati - Thomas and the Possessed.  Her acting talent soon became recognised and she was soon working for some of Italy’s leading directors, including Nino Manfredi, Vittorio De Sica, Luigi Comencini and Elio Petri, who had her starring opposite the brilliant Gian Maria Volonté in La classe operaia va in paradiso - The Working Class Goes to Heaven - which tied with another Italian film, The Mattei Affair, for the Grand Prix International at the 1972 Canne Film Festival.

The performances regarded as the most memorable of her film career came while she was working with Wertmüller, who met her for the first time while she was doing stage work with Ronconi.  Wertmüller, a director prepared to explore areas of human behaviour considered off limits by some, recognised Melato's natural comic potential and chose her to play opposite Giancarlo Giannini in The Seduction of Mimi (1972), in which Giannini played a man on the run from the Mafia and Melato the communist with whom he has an affair.

Wertmüller paired them again in Love and Anarchy, in which Giannini was a country bumpkin who travels to Rome with a plan to assassinate Mussolini and discovers that his cousin Salomé, played by Melato, works in a brothel.

Melato with Renzo Arbore,
her long-term partner

Their collaboration is remembered most, however, for Swept Away (1974), which featured a bravura performance from Melato as a neurotic Italian noblewoman, a jet-set snob, who takes a yachting holiday and ends up marooned on an island with one of the boat’s crew, a communist, played by Giannini.  Despite the differences in their politics and social backgrounds, which initially leads to furious rows, they eventually have an affair, but one which lasts only until they are rescued and return to their previous lives.

Her success in Europe led Melato to be invited to America, where she played the villainess General Kala in Flash Gordon (1980), and co-starred with Ryan O'Neal in the comedy, So Fine (1981).  

However, her quirky style and appearance did not match American perceptions of European glamour and she did not enjoy enough success to persuade her to stay.

Back in Italy, she worked with Wertmüller again on Summer Nights (1986) but her focus increasingly switched to a stage career and latterly television.

Although she never married, she had a long relationship with the actor, singer and TV host Renzo Arbore.

Melato died in 2013 at the age of 71 in Rome, following a long battle with pancreatic cancer.  Her funeral at the church of Santa Maria di Montesanto in Piazza del Popolo attracted a large gathering of colleagues and fans.

Milan's La Rinascente department store is in
Piazza Duomo, opposite the cathedral itself

Travel tip:

La Rinascente in Milan, where Mariangela Melato worked to fund her acting lessons, is right in the centre of the city in Piazza Duomo, close to the entrance to the Duomo metro stop. The store, which sells house wares as well as clothes and cosmetics, was nominated the Best Department Store in the World at a Global Department Store Summit in 2016.  The company, who evolved from a shop opened in Milan in 1865 by Luigi and Ferdinando Bocconi, acquired its name when it changed hands in 1917 and the new owners commissioned to poet, Gabriele D’Annunzio, to come up with a name and he suggested La Rinascente, meaning new birth.

Rome's 'twin churches' - Santa Maria in
Montesanto (left) and Santa Maria dei Miracoli

Travel tip:

The church of Santa Maria in Montesanto stands in Piazza del Popolo, between Via del Corso and Via del Babuino. It is also known as the Church of the Artists and is regarded as the twin church of Santa Maria dei Miracoli, which stands between Via del Corso and Via di Ripetta, facing the piazza, which sits just inside the northern gate of the ancient city, the Porta Flaminia. The church was built in 1662, on the initiative of Pope Alexander VII. The original design was the work of Carlo Rainaldi and there was later input from Gian Lorenzo Bernini and Carlo Fontana.  It is known as the Church of the Artists because, since 1953, Sunday mass has been celebrated there by representatives of the world of culture and art. 

Also on this day:

1898: The birth of Giuseppe Saragat, fifth President of Italy

1941: The birth of fiery politician Umberto Bossi

1985: The death of writer Italo Calvino

The Festival of San Gennaro

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