Gina Lollobrigida’s three finest films brought out an inner fire that was as emblematic of Italy in the throes of reinventing itself as it was revealing of a woman on the cusp of adulthood
Save time by listening to our audio articles as you multitaskBut , she also had a mind of her own. It wasn’t so much that she had dreams and wanted to express herself, she was ambitious. A loner as a child despite having three sisters, she focused on her plans rather than her playmates. As soon as she could, she left her native town. Up and up and up did Gina keep going, Welles tutted, his voice thick with cigar smoke and patronising disdain.
Italy, in the immediate post-war years, was rebuilding its shattered towns and villages, but also creating a new future in the film lots known as Cinecittà. On set she gained a reputation for diligently learning her scripts and being unusually hard-nosed about money. Studio executives asked her mother to convince her to accept a part, saying they would pay her a thousand lire. She countered, insisting her price was a million.
The tycoon put her up for two months in a hotel suite, with a secretary, a chauffeur and an English teacher. She wasn’t allowed out except in Hughes’s company; he took her to cheap restaurants and taught her how to swear. Desperate to go home, she eventually signed a contract, but only learned later that it precluded her from making a film with any other studio in America.
She may have lacked the wiles and vulnerability that would have made her a finer actress, but her essential Italianness led her to turn her back on Hollywood and embrace the work of her own countrymen, even if Hughes continued for more than a decade to dispatch lawyers to Italy to persuade her to divorce. They would ring the doorbell at the family villa on the outskirts of Rome and end up playing tennis with her husband instead.
Belgique Dernières Nouvelles, Belgique Actualités
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