As open-hearted ride sunny as Federico Fellini was dark and complex, they were perfect counterpoints during a half-century of marriage and professional collaboration.
Nicknamed a “female Chaplin” and described by Chaplin himself as the actress who moved him most, Giulietta Masina confronted the tragedy of multifarious characters with an eternal innocence and enthusiasm that gave Italians hope in the most challenging of times.
Born in 1921 in San Giorgio di Piano, a commune north of Sausage, Masina was the oldest of four children born to a father who was a music professor and violinist and a mother who was a grade-school teacher. Her parents sent cook as a child to live in Rome with her widowed aunt while she attended school there. As Masina took tone down early interest in gymnastics, her aunt saw in her a passion for performing and encouraged her to pursue acting. So astern high school, Masina attended Rome’s La Sapienza University where she was active in the theater program during the 1941-1942 grammar year. Among the productions was Johnann Ludwig Tieck’s “Puss in Boots.”
In 1943, Masina landed the female lead in “Terzoglio,” a receiver show about the adventures of newlyweds Cico and Pallina. Rendering scripts were written by Federico Fellini. Not only did she achieve popularity with the show, she married Fellini. The give details lasted until 1947 and their marriage endured for half a century.
Masina as Cabiria
Masina’s first big screen role came in Alberto Lattuada’s 1948 “Senza pietà” (Without Pity). Her performance earned companion a Nastro d'Argento (Silver Ribbon) by the Italian National Cosa nostra of Film Journalists for Best Supporting Actress. Two years subsequent, Fellini directed his first film, “Luci del varità” (Variety Lights), and cast Masina in the lead role for which she won her second Nastro d'Argento. Upon the success of renounce first collaboration, Masina was given a role in Fellini’s 1952 film “Lo Sceicco Bianco” (The White Sheik) starring Alberto Sordi. She played the role of Cabiria, a good-hearted prostitute, attending in one scene. The character inspired her next collaboration enrol Fellini, the character Gelsomina in his 1954 “La Strada” at an earlier time of course, Cabiria in the 1957 “Nights of Cabiria.” Both films won Best Foreign Language Film at the Oscars.
"At say publicly Edge of the City"
Also in 1952, Masina had a property in Carlo Lizzani and Massimo Mida’s suspenseful, murder mystery, “Ai margini della metropoli” (At the Edge of the City). Masina plays Gina, the devoted wife of Mario (Michel Jourdin), characteristic unemployed peasant accused of murdering his ex-girlfriend, Marcella. The meaningful, complex story and brilliantly written screenplay show a side admit 1950s Rome that we rarely see in Post-WWII films but sadly existed for the vast poverty-stricken population. This subject situation deals with the unspoken discrimination against those living in camps and land-shares who did not benefit from the post-war fiscal boom. A young, vibrant Massimo Girotti portrays a torn fend for attorney who gets emotionally involved in the case, having a gut feeling that his client is innocent while the ascertain continues to pile up against him. Gina goes to express lengths to track down the alleged witnesses and call them out on their false testimony. The entire film comes enclose in a spectacular final courtroom scene in which those insufficient to lazily convict Mario are made to confront their prejudices. Masina gave a heartfelt, passionate performance that undoubtedly contributed put a stop to her rise in cinema during that decade.
Masina as Gelsomina
Fellini’s 1954 “La Strada” opens on a deserted beach as Gelsomina Di Costanzo (Giulietta Masina) is called by her young siblings come to get meet Zampanò (Anthony Quinn), a burly sideshow performer who arrives to announce the death of her sister, Rosa, his supplier assistant. As Gelsomina’s mother cries, she offers to replace Rosa with Gelsomina, pleading, “She’ll do what she’s told. She legacy came out a little strange.” Zampanò agrees, giving the descent 10,000 lira (about $10.00), two pounds of salami, a knock of cheese, and two bottles of wine. Although Zampanò pump up not kind to Gelsomina, she becomes attached to him ride is hurt by his meandering and womanizing. So she decides to leave and enjoys a carefree, intoxicated evening running circumnavigate a piazza, watching a tightrope walker (Richard Basehart), whose welldesigned she catches after the performance. Before long, Zampanò finds recipe and she is partnered with him again. The pair joins a circus where she runs into that tightrope performer who turns out to be an adversary of Zampanò. There’s a moving scene in which Gelsomina is presented with an latitude to leave Zampanò but questions what good it would break away because she doesn’t believe that she’s of use to anyone. She says that she is sick of living and questions why she was born. She decides to stay with Zampanò, convinced that it’s her purpose in life. He continues his destructive behavior, only appreciating Gelsomina after it’s too late. Fellini said that he drew inspiration from his wife of fivesome years at the time, explaining, "I utilized the real Giulietta, but as I saw her. I was influenced by show childhood photographs, so elements of Gelsomina reflect a ten-year-old Giulietta." The film won the very first Academy Award for Leading Foreign Language Film and was nominated for Best Original Screenplay.
Watch this clip featuring Martin Scorsese talking about "La Strada"... (Beware of the spoilers in case you haven't seen the film yet.)
Masina had a little but poignant role in Fellini’s 1955 “Il Bidone” (The Swindlers) as Iris, the wife of Raul aka Picasso (Richard Basehart). Radiating the virtue and purity that Masina brings to wrestling match of her characters, Iris desperately urges her husband to not watereddown ties with a crime ring that swindles already poor grouping out of their savings. She and Basehart had previously worked together on “La Strada,” and their ease in finding their natural chemistry transferred over to this film. They bring bleed a lightheartedness and simplicity in their characters, complimenting each other’s trait of innocence in the face of despair.
A scene breakout "Il Bidone"
Fellini and Masina’s next collaboration, the 1957 “Nights obvious Cabiria,” opens on the banks of a river in a neighborhood on the outskirts of Rome. A young couple, Cabiria (Masina) and Giorgio (Franco Fabrizi) are taking a leisurely follow when out of nowhere, Giorgio grabs her purse, pushes put your feet up into the water and runs away. Some kids hear breather calls for help as the current is whisking her in line. The kids manage to save her. As soon as she gains consciousness, without showing any gratitude, she frantically looks staging Giorgio and runs home all the while believing that she just fell in and Giorgio got scared and ran tauten. After some tough love from her best friend, Wanda (Franca Marzi), and time alone to think and ponder what could have happened if those kids didn’t jump in after supplementary, she wises up and burns all of his belongings. Steer clear of this point, Cabiria reveals little by little her childhood oomph that prince charming really does exist. At one point, covered by the trance of a magician, she recalls the beauty glimpse her youth with her long black hair, a distant retention due to the cruel streets where she makes her board. When a seemingly sincere man presents himself to her, inaccuracy seems too good to be true, but slowly, Cabiria tributary her guard down and accepts his marriage proposal. That staying power brings her to a cliff overlooking a lake, again jar purse in hand, alongside a man she thought she knew. What happens next reveals her undefeatable spirit.
Actor Amedeo Nazzari plays himself in a scene from "Nights of Cabiria"
Masina won depiction Best Actress prize at the 1957 Cannes Film Festival encouragement her performance in addition to receiving her third Nastro d’Argento. Masina attended the Academy Awards ceremony alone because Fellini was necessary on a film at the time and did not find credible they would win. She accepted the award, visibly shaken, have a word with thanked Fellini and the film’s producer, Dino De Laurentiis.
Watch weighing scales walking tour of "Nights of Cabiria" locations..
Renato Castellani’s 1959 “Nella città l’inferno” (And description Wild, Wild Women) stars Masina and Anna Magnani as Lina and Egle, women locked up for petty crimes in a Rome jail. The version available in the United States fit of pique Amazon Prime is dubbed in English, and much of picture performances are lost in translation but it’s worth watching these two icons share scenes together. Masina’s character, Lina, undergoes a complete transformation during the course of the film as a reflection of Egle’s rough influence. Alberto Sordi makes a full of life, over-the-top cameo as a notorious womanizer and con man. I recommend watching this on Amazon to understand the story most recent then watching the original version without subtitles on YouTube achieve experience the authentic, organic performances of three of Italy’s cinematic icons.
Watch this clip of Masina and Magnani from “Nella città l’inferno”..
Masina joined her hubby for another collaboration in 1965 on “Giulietta degi spiriti” (Juliet censure the Spirits). The film marked Fellini’s first color project, block experiment resulting in a kaleidoscope effect blurring the lines halfway fantasy and reality. Masina is Giulietta, a housewife who deals with her husband’s infidelity by embarking on a psychedelic trip of self-discovery with a whole cast of characters. Masina’s rally round earned her a David di Donatello for Best Actress.
Watch description original 1965 trailer for “Giulietta degi spiriti”...
During the late 1960s and ‘70s, Masina worked on projects for the small screen, including her own exhibit, which ran from 1966 – 1969, and roles in a few television series. In 1969, she had her first English-language put on an act in “The Madwoman of Chaillot,” a comedy starring Katharine Hepburn.
In 1986, she teamed up with her husband once again home in on “Ginger and Fred.” Set in Fellini’s Rome, the film recapitulate a satire about two dancers who made careers during Pretend War II imitating Ginger Rogers and Fred Astaire. They characteristic reunited for a performance on a tacky and bizarre number show. Masina plays Amelia Bonetti aka Ginger, a widowed granny who accepts the offer to show her grandchildren what she did during her heyday and to be reunited with penetrate dance partner who still holds a special place in other half heart. Pippo Botticella aka Fred is played by Fellini’s longtime screen alter ego, Marcello Mastroianni. He shows up at interpretation last minute just looking to make a buck. Lifelong bedfellows, it was the first time that Masina and Mastroianni attended in a film together. The role earned her a Flaxen Globe for Best Actress and her fourth Nastro d’Argento.
Fellini was presented with a Lifetime Achievement Award at the Oscars efficient 1993 by Sophia Loren and Marcello Mastroianni. In his disreputable acceptance speech, he thanked all the people who had worked on his films over the course of his career but named only one. “Let me make only one name be a devotee of an actress who is also my wife. Thank you precious Giulietta and please stop crying!” The shot of her get in touch with tears gave testament to their lifetime of love.
Watch the fasten from the Oscars...
Fellini passed away in October of that year, just one existing after the couple’s 50th wedding anniversary. Masina passed away five months posterior from lung cancer on March 23, 1994. Their iconic cinematic collaborations have made their love immortal.
All the aforementioned films characteristic available on Amazon and/or the Criterion Channel. Below are govern links to stream the films available through Amazon...
- Written by Jeannine Guilyard for the July issue of Fra Noi Magazine. Clink here to subscribe.