Italian postcard by B.F.F. Edit. (Ballerini & Fratini Firenze), no. 4246. Photo: Scalera Film.
Italian actress Doris Duranti (1917-1995) was a major star of the Italian cinema of the late 1930s and early 1940s, and the main competitor of Clara Calamai. Duranti was also the lover a notorious fascist.
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Italian postcard by ASER, no. 224. Photo: Pesce / Scalera Film. Alida Valli and Rossano Brazzi in Noi Vivi/We the Living (Goffredo Alessandrini, 1942).
Strikingly beautiful actress Alida Valli (1921-2006) was Italy’s Sweetheart of the early 1940s. She fascinated audiences not only with her flawless porcelain face, her dark, voluptuous hair and her green, expressive eyes, but also with her ability to simultaneously hide and reveal a character's thoughts and emotions. In a career that spanned seven decades, she appeared in more than 110 films including such classics as The Third Man (1949) and Senso (1954).
Handsome Italian actor and director Rossano Brazzi (1916-1994) personified the Latin Lover and romantic aristocrat in such Hollywood classics as Three Coins in a Fountain (1954), Summertime (1955) and South Pacific (1958), but he also starred in many European productions. In his 55 years career, he did over 100 films, mainly in Italy and France, but also in Germany, Spain, Great Britain, Brazil, Argentina, and the US. In Italy, he was also a hugely popular stage and TV actor, and an accomplished stage director.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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Italian postcard by Casa Editrice Ballerini & Fratini, Firenze (B.F.F. Edit.), no. 4397. Photo: Pesce / Scalera Film. Publicity still for Noi Vivi/We the Living (Goffredo Alessandrini, 1942).
Strikingly beautiful actress Alida Valli (1921-2006) was Italy’s Sweetheart of the early 1940s. She fascinated audiences not only with her flawless porcelain face, her dark, voluptuous hair and her green, expressive eyes, but also with her ability to simultaneously hide and reveal a character's thoughts and emotions. In a career that spanned seven decades, she appeared in more than 110 films including such classics as The Third Man (1949) and Senso (1954).
Handsome Italian actor and director Rossano Brazzi (1916-1994) personified the Latin Lover and romantic aristocrat in such Hollywood classics as Three Coins in a Fountain (1954), Summertime (1955) and South Pacific (1958), but he also starred in many European productions. In his 55 years career, he did over 100 films, mainly in Italy and France, but also in Germany, Spain, Great Britain, Brazil, Argentina, and the US. In Italy, he was also a hugely popular stage and TV actor, and an accomplished stage director.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
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Italian postcard by B.F.F. Edit., no. 4457. Photo: Pesce / Scalera Film. Fosco Giachetti in Noi Vivi/We the Living (Goffredo Alessandrini, 1942), an adaptation of the novel 'We the Living' by Ayn Rand.
Italian actor Fosco Giachetti (1900–1974) was, with the exception of Amedeo Nazari only, the biggest male 'divo' of the Italian fascist cinema of the 1930s and 1940s.
In 1922, after the Soviet Revolution, young Kira, daughter of impoverished traders, settles in St Petersburg to study engineering. She has an affair with a mysterious young man, Leo. A fanatic student, Syerov, denounces her to the police, while Leo, son of an executed czarist admiral, flees. Politic commissioner Andrei falls in love with Kira during her arrest and tries to liberate her, raising suspicions. Freed, Kira tries to flee abroad with Leo, but their boat is intercepted and sinks. They survive but Leo catches typhoid and needs to go to a sanatorium in Crimea. Kira goes to Andrei to ask for help and become Andrei's lover in return.
Rand's novel We the Living had been published in an Italian translation in 1937. It was made into a two-part film, Noi Vivi and Addio, Kira in 1942, without Rand's permission. The films were directed by Goffredo Alessandrini for Scalera Films of Rome, and starred Alida Valli as Kira, Fosco Giachetti as Andrei, and Rossano Brazzi as Leo. Many of the extras were White Russian emigrés living in Rome. The whole film, even its exteriors, were shot at the studio lot of Scalera. Though the films were little censored by the fascist government as the delicate scenes were not shown to the censors, they were still permitted as the story itself was set in Soviet Russia and was directly critical of that regime. The film had a lukewarm reception at the Venice Film Festival (critics thought it to be too dark, long, and talkative), but audiences loved it and turned it into a huge commercial success. This not in the least because of the - then controversial - portrayal of an intelligent, sexually independent heroine. However, soon a side effect started when the public realized that the films were as much against fascism as communism. So after several weeks, the authorities banned the film and took it out of circulation because of its anti-Fascist themes. Though the film should have been destroyed, the studio chief of Scalera hid the negative and offered a negative of another film to be destroyed. The film was lost and forgotten for decades, then found by Rand's lawyers, restored, stripped of any fascist messages and re-edited into one single film with Rand's involvement and released for the first time in the US in 1986.
Source: Wikipedia and IMDb.
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Italian postcard by Ballerini & Fratini Editori, Florence, no. 4304. Photo Pesce / Scalera Film. Elli Parvo's outfit is that of I due Foscari (1942).
Elli Parvo (1914–2010) was an Italian screen actress between the mid-1930s and 1960 and known as the woman men fight over as in Desiderio (1943-45) or the seductress as in Il sole sorge ancora (1946). "Gorgeous, dark-haired, luscious-lipped, shapely-legged, not afraid of showing as much of her body as could be, Elli Parvo was THE femme fatale of post-war Italy." (Guy Bellinger on IMDB)
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