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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Paolo Rossi - World Cup hero

Goalscorer who bounced back from two-year ban

(This article was written in 2017; sadly, Paolo Rossi passed away in 2020 at the age of 64)

Paolo Rossi celebrates his goal in the 1982
World Cup final in Spain

The footballer Paolo Rossi, whose goals steered Italy to World Cup glory in 1982, was born on this day in 1956 in Prato in Tuscany.

At the peak of his career in club football, in which his best years were with Juventus and Vicenza, Rossi scored almost 100 Serie A and Serie B goals in seven seasons.

Yet for many his exploits with the Italian national team define his career. In 48 appearances he scored 20 goals, including six in the 1982 finals in Spain, when he won the Golden Boot as the tournament’s top scorer and the Golden Ball as the best player.

In 1982 he also won the Ballon D’Or, the prestigious award given to the player of the season across all the European leagues, following in the footsteps of Omar Sivori and Gianni Rivera to become the third Italian player to win the vote, in which company he has since been joined by Roberto Baggio and Fabio Cannavaro.

His success story is all the more remarkable for the fact that he scaled so many personal peaks after being banned from football for two years in a match-fixing scandal, although he denied the accusations levelled at him.

The 1982 World Cup saved his career and his reputation, although the fairytale would never have happened but for the faith shown in him by the national coach, Enzo Bearzot.

Italy's coach, Enzo Bearzot, stood by Rossi

Bearzot’s selection of Rossi for the squad he took to Spain came barely a month after his suspension was lifted and sparked an outcry in Italy. Apart from those who thought he was unworthy of wearing the Azzurri shirt, others argued he would be too lacking in fitness to make an effective contribution.

Yet Bearzot not only believed in Rossi’s innocence, he also recalled the three goals the striker had scored in the 1978 World Cup finals in Argentina and was convinced he could make an impact again.

His faith was borne out totally.  Rossi looked off the pace at the start of the tournament but found his feet memorably in the second phase, scoring all three of Italy’s goals in a 3-2 win against a superior Brazil team that still ranks as one of the greatest matches in World Cup history.

He went on to score both Italy’s goals as they defeated Poland in the semi-finals and opened the scoring in Italy’s 3-1 victory over West Germany in the final.

As a boy, Rossi played his first football with an amateur team in the Santa Lucia area of Prato. At the age of 12, he was spotted by a scout from Juventus, who had also been interested in his brother, Rossano, but had sent him home after a year.

His mother, who had always been worried about Rossano having to fend for himself in Turin, was reluctant to suffer a similarly anxious time with Paolo, especially since Rossano’s dreams ultimately came to nothing.

Paolo Rossi in action for Juventus

But Juventus were persuasive, offering substantial inducements for him to sign, and ultimately in 1972 a deal was agreed.

It took a long time for his career to take off, however. He suffered a series of serious knee injuries and apart from a handful of Coppa Italia games he did not make any real progress towards a regular place in the first team at Juventus.

A spell on loan with Como did not change his fortunes and he might have been told to seek an alternative career had Lanerossi Vicenza, the Serie B club, not stepped in with another loan deal.

Rossi had, until then, been seen as a winger, slight in build but with the speed to beat defenders. Vicenza’s coach, Giovan Battista Fabbri, had other ideas, reckoning that Rossi’s pace could be deployed in the middle, despite his lack of physical stature. 

It proved a masterstroke.  Rossi scored 21 goals to help Vicenza win promotion to Serie A and followed it with 24 in the top flight as Vicenza finished second, a remarkable performance.  Rossi became the first player to be top scorer in Serie B and Serie A in consecutive seasons.

In the event, Vicenza’s flame went out as quickly as it had ignited. They paid 2.612 million lire to make Rossi their own player, making him the world’s most expensive footballer, which he rewarded with another 15 goals, despite missing many games through injury. Yet Vicenza were relegated.

Rossi (right) with Giovan Battista Fabbri, the
coach of Vicenza, who turned him into a striker

Had they stayed up, Rossi might never have been embroiled in the match-fixing allegations.  Instead, in order to continue playing in Serie A and continue his international career, he went on loan to Perugia, who were heavily implicated in what became known as the Totonero scandal after a match against Avellino, in which Rossi scored twice, was found to have been rigged to end in a draw.

Rossi admitted he had been approached by a third party interested in fixing the result but said he had agreed to nothing.  Nonetheless, he was found guilty and banned for three years, reduced on appeal to two.

Disillusioned, he threatened to leave Italy for a new life elsewhere but Juventus bought him back from Vicenza and the bianconeri finally saw the real Rossi.  He helped them win the Serie A title – the ‘Scudetto’ - the UEFA Cup and the European Cup during a period when his very presence in a team seemed to guarantee their winning a trophy.

Since retiring, Rossi has run a real estate company, opened an agritourism complex in Bucine, near Arezzo, taken part in Ballando con le Stelle – the Italian version of Strictly Come Dancing – and worked for several newspapers and television stations as a columnist and pundit.

He has also run for election to the European Parliament and worked on behalf of a number of charities.  Married to journalist Federica Cappelletti, he has three children.

The Castello dell'Imperatore in Prato

Travel tip:

Paolo Rossi’s home city of Prato is the second largest in Tuscany after Florence and has a considerable number of historic churches and palaces and two castles, yet is rarely part of anyone’s tourist itinerary.  Attractions include beautiful frescoes by Filippo Lippi inside the Duomo and the external pulpit by Michelozzo and Donatello, the beautiful Palazzo Pretorio and Piazza del Comune where it sits.  The remains of Castello dell’Imperatore are also worth exploring.  Prato’s traditional textile industry, which today employs many of the city’s large Chinese population, once saw it described as ‘the Manchester of Italy.’

Palladio's Villa Capra, known as La Rotonda

Travel tip:

Known as both the city of Palladio and, on account of its historical trade in precious metals, the ‘city of gold’, Vicenza is one of the gems of the Veneto, with a centre rich in beautiful architecture, much of which has been built or influenced by the 16^th century architect Andrea Palladio, who also left his mark on the area by building many impressive villas in the countryside around Vicenza, the most famous of which, the symmetrically four-sided Villa Almerico Capra, commonly known as La Rotonda. There are some 23 buildings in the city itself that were designed by Palladio, including perhaps the city’s most popular attraction, the Teatro Olimpico, which was his last work.

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Fra Bartolommeo - Renaissance great

Friar rated equal of Michelangelo, Raphael and Leonardo

Bartolommeo's God the Father with SS
Catherine of Siena and Mary Magdalene
can be seen at Villa Guinigi in Lucca

Fra Bartolommeo, the Renaissance artist recognised as one of the greatest religious painters, was born on this day in 1472 in Savignano di Vaiano, in Tuscany.

Also known as Baccio della Porta, a nickname he acquired because when he lived in Florence his lodgings were near what is now the Porta Romana, Bartolommeo created works that chart the development of artistic styles and fashion in Florence, from the earthly realism of the 15th century to the grandeur of High Renaissance in the 16th century.

His most famous works include Annunciation, Vision of St Bernard, Madonna and Child with Saints, the Holy Family, the Mystic Marriage of St Catherine, God the Father with SS Catherine of Siena and Mary Magdalene and Madonna della Misericordia.

Bartolommeo always prepared for any painting by making sketches, more than 1,000 in total over the years he was active.  Around 500 of them were discovered at the convent of St Catherine of Siena in Florence in 1722, where nuns were unaware of their significance.

Vision of St Bernard with SS Benedict and John the
Evangelist, housed in the Uffizi Gallery in Florence

He is also remembered for his striking profile portrait of Fra Girolamo Savonarola, the fanatical priest under whose influence he came in the 1490s.  He came to believe the message that Savonarola preached, that much of the art and literature of the Renaissance was sinful and that the sole purpose of painting should be to illustrate the lessons of the bible.

Consequently, he threw many of his own early paintings, particularly those which contained nudity or other sensual images, on Savonarola's famous bonfires.  When Savonarola was arrested, hung and burned at the stake in 1498, Bartolommeo gave up painting and entered the friary of San Domenico in Prato as a novice.

He entered the convent of San Marco in Florence in 1500 and was persuaded to return to painting in 1504 when his superior asked him to do so for the benefit of the order, who sold artworks to raise money.  He became head of the monastery workshop, a position occupied some 50 years earlier by another great Renaissance artist, Fra Angelico.

Before taking orders, Bartolommeo, the son of a mule driver, had been an apprentice in the Florence workshop of Cosimo Rosselli.  He set up a studio with another Florentine painter, Mariotto Albertinelli and soon came to be considered one of the greatest talents of his generation, his works standing comparison with those of Michelangelo, Raphael and Leonardo da Vinci.

Fra Bartolommeo's portrait of Fra Girolamo
Savonarola is in the San Marco museum

Savonarola's influence changed the direction of Bartolommeo's career. If he had not entered Holy Orders, it is likely he would have become an even more famous name.  Where Raphael and Michelangelo went to Rome to work at the Vatican, he stayed behind in Florence.

After resuming his career he nonetheless made an indelible mark on the history of art.  Following the completion of his Vision of St. Bernard in 1507 for a chapel in the Badia Fiorentina, he befriended Raphael when the younger artist visited Florence and they were said to have influenced each other.  When Bartolommeo eventually did travel to Rome in 1513, Raphael completed two unfinished pictures in Florence.

In the meantime, Bartolommeo had spent time in Venice, where he painted a Holy Father, St. Mary Magdalene and St. Catherine of Siena for the Dominicans of San Pietro Martire in Murano. As the Dominicans failed to pay for the work, he took it back to Lucca, where it can be seen now.

Also in Lucca, he painted an altarpiece Madonna and Child with Saints for the local cathedral and was then commissioned to paint an altarpiece for the Sala del Consiglio of Florence, now in the Museum of San Marco.

In Rome, he painted a Peter and Paul, now in the Pinacoteca Vaticana, returning to Florence to execute his St. Mark Evangelist for the Palazzo Pitti in Florence and the frescoes in the Dominican convent of Pian di Mugnone, near Fiesole, just outside Florence. His last work is fresco of Noli me tangere also in Pian di Mugnone.

Fra Bartolommeo died in 1517 at the age of 44. The painter and art historian Giorgio Vasari recorded that he suffered a “violent fever” after “having eaten some figs.” But it is thought more likely that he died of malaria.

The Palazzo Pretorio in Prato

Travel tip:

The city of Prato is just half an hour from Florence yet is almost Tuscany's forgotten gem.  It has a commercial heritage founded on the textile industry and its growth in the 19th century earned it the nickname the "Manchester of Tuscany". Prato is the home of the Datini archives, a significant collection of late medieval documents concerning economic and trade history, produced between 1363 and 1410, yet also has many artistic treasures, including frescoes by Filippo Lippi, Paolo Uccello and Agnolo Gaddi inside its Duomo and the external pulpit by Michelozzo and 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 medieval emperor and King of Sicily Frederick II.

Check TripAdvisor's guide to Prato hotels

The Church of San Marco in Florence

Travel tip:

The San Marco religious complex in Florence comprises a church and a convent. During the 15th century, the convent was home to both the painter Fra Angelico as well as the preacher Savonarola.  The convent was stripped from the Dominicans in 1808, during the Napoleonic Wars, and again in 1866, when it became a possession of the state.  Until recently, it still housed a community of Dominican friars, but is now home to the Museo Nazionale di San Marco, where Fra Bartolommeo's portrait of Savonarola is on display.  Also housed at the convent is a famous collection of manuscripts in a library built by Michelozzo.

More reading:

What made Michelangelo the greatest of all the great artists

The precocious genius of Raphael

Artist and inventor - the extraordinary talents of Leonardo da Vinci

Also on this day:

1925: The birth of 'spaghetti western' producer Alberto Grimaldi

(Picture credits: Palazzo Pretorio by Massimilianogalardi; Church of San Marco by Sailko; both via Wikimedia Commons)

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