Stefania Sandrelli Biography / Husband / Children

Stefania Sandrelli Biography / Husband / Children
Stefania Sandrelli Biography / Husband / Children
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Despite the advancing age, Stefana Sandrelli continues to be successful in her career. The new nymphets may aspire to instant success, but what they lack is the tenderness and humor that Stefana had. She was even irreverent towards the greatest Italian directors of the golden age of Cinecittà, especially in the title of her Seduced and Abandoned. Not only has she been the protagonist of many love stories in her private life, but she has been repeatedly discovered and rediscovered professionally. It is undeniable that, although her “naturalistic” acting can sometimes be lacking, this splendid and unforgettable Italian actress is one of the most remarkable and captivating interpreters in the history of our cinema.

Going from the runway to the glamorous red carpet, I’m filled with passion and excitement! At the tender age of 15, she was one of the many beauties Italy was producing (“Miss Ninfetta”, to be exact). It was a photo shoot on the beach in her hometown (Viareggio) that introduced her to the world of cinema. A few months later, Luciano Salce, conquered by her beauty, offers her a part of her in The Federal (1961), thus marking her debut on the big screen alongside Ugo Tognazzi (who will often be her set mate) and Gianni Agus. Her fame skyrocketed after her participation in Divorzio all’italiana (1962) by Pietro Germi, where she played the role of Angela, with whom Fefé (Marcello Mastroianni) fell madly in love.

At only sixteen she was betrothed to the famous singer-songwriter Gino Paoli, with whom she shared a deep and lasting love that was immortalized in the beautiful Italian song of the century, “This long love story”. This passionate relationship culminated in the birth of her first child, Amanda Sandrelli, in 1964. Sandrelli was close friends with Sylva Koscina, whom she had met on the set of Il fornaretto in Venice. She also ventured to France, where Jean-Pierre Melville cast her alongside Jean-Paul Belmondo and Michélle Mercier in the drama The Jackal (1963). Subsequently, she returns to Italy in the arms of Pygmalion Germi to star in one of her most beautiful films of her career Seduced and Abandoned (1964). Antonio Pietrangeli, fascinated by the acting skills of this young mother, offers her the opportunity to interpret a not very successful actress in I knew her well (1965). Despite the misgivings of others, Sandrelli took on this role with great skill and the film was a resounding success. Critics and audiences praised her for her remarkable performance.

The 70s and Tinto Brass

Throughout the 1970s, Germi, the professional staple of her life (she was also directed by him in L’immorale and Alfredo, Alfredo), alternated with Bernardo Bertolucci (Partner, the masterpiece The Conformist, not to mention Novecento) . If for Monicelli she was a witch in Brancaleone alle crociate (1970), for Luigi Comencini she was a victim of capitalism in Delitto d’amore (1974), but also a sensual neighbor who dances in a blocked lift with a monsignor in Quelle strane Occasions (1976). French cinema, in the person of Claude Chabrol, has seen her as the protagonist of the yellow Prophecy of a murder (1975), but it is the cinema of our house that has always made her the queen of the big screen. Indeed, Ettore Scola was one of the key figures in the career of this actress: it is impossible to forget her in the role of the woman disputed by Gassman and Manfredi in We were so loved (1974), and what about La Terrazza (1980) where, in role of a sober bourgeois, pocketing the Silver Ribbon for best supporting actress?
Ecstatic with the birth of her second child, Vito, from her marriage to the dissolute Nicky Pende in 1973, Sandrelli never gave up her love of cinema. With Bolognini, Sordi, Carlo Vanzina and Tinto Brass’s risqué The Key (1983), Italy is exposed to a side of Sandrelli never seen before. After Giuseppe Bertolucci (Secret secrets, 1984) and Steno (Sue me, 1984), she is one of the many protagonists of the rosé comedy We hope she is female. Scola’s The Family (1988) and Benigni’s The Little Devil (1988) further demonstrate her excellence in Italian comedy, but it is with new directors that Sandrelli truly shines.

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Awards and TV appearances.

She was much celebrated for her leading role in Francesca Archibugi’s Mignon è festa (1988), which earned her the David di Donatello and the Silver Ribbon. His impressive acting range is evident in Pontius Pilate (1988), Unworthy Uncle (1989), Dark Evil (1990), African Girl (1990) and Evelina and Her Children (1990), where she demonstrates her versatility between the ‘to be motherly and dramatic, sexy or pathetic, creepy, but also funny. His sexual ambiguity is particularly highlighted in the films of Bigas Luna (Prosciutto ham, The Mystery, Volaverunt), while his innocence is captured in Giovanni Veronesi’s Per amore solo per amore (1983) and Francesca’s With eyes closed (1994). Arquebuses. Furthermore, she also appears in the exciting female saga of Il bello delle donne and alongside Gigi Proietti in Il maresciallo Rocca (1996). Her remarkable talent is simply undeniable!
The inclusion of Lina Wertmüller in Ninfa plebea (1996) is not accidental, and the end of the 1990s and the beginning of the 2000s saw the triumphal return of great directors such as Bernardo Bertolucci with Io ballo alone (1996), Francesca Archibugi for the television fiction Renzo and Lucia (2004), Ettore Scola with Dinner (1998) and People of Rome (2003). Despite her 40-year career, her passion for acting has never waned, not even with advancing age: her performance in Cristina Comencini’s Matrimoni (1998) is more alive and vital than ever, and her interpretation of a mother in emotional and psychological crisis in The Last Kiss (2001) by Gabriele Muccino earned her a David and Nastri d’Argento for Best Supporting Actress, which she repeated the following year with the drama film Hijos – Figli (2001) by Marco Bechis. Her enthusiasm for acting remains unwavering!

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Directorial debut and recent films

After starring in A perfect day (2008), A matter of the heart (2008) and Thank goodness you’re there (2009), Sandrelli felt that the time was right to take the plunge: in 2009 she directed Christine, a film biopic on the life of the poet Cristina da Pizzano, in which she cast her daughter Amanda in the lead role. With enthusiasm and determination, Sandrelli has embraced this new challenge, determined to complete it successfully! In the year of her directorial debut, Sandrelli continued to hone her craft as an actress in Luciano Melchionna’s Ce n’è per tutti. 2010 was an incredible year for her, with her outstanding performance as a mother in Paolo Virzì’s La prima cosa bella (which earned her a Silver Ribbon) and Luca Lucini’s The Woman in My Life. She was truly passionate about her work and it showed! The following year she amazed us with her presence on the big screen in two spectacular comedies; she shone alongside Ricky Tognazzi in Tuta Blame della Musica and with Fabio Volo in Il giorno in più, directed by Massimo Venier. She is the most beloved diva and for the critics she is the embodiment of perfection. It is therefore not surprising that she was awarded the Golden Lion for her career in 2005 and the honorary Silver Ribbon in 2006 for her graceful journey through the years of Italian cinema. In 2021 she is the protagonist of She speaks to me again by Pupi Avati and in 2022 she is the co-protagonist with Silvia D’Amico of the road movie directed by Corrado Ceron Acqua e anise. Directed by Muccino in A casa tutti bene and by Michela Andreozzi in Good girls, her talent is undeniable!

The article is in Italian

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