Claude Joséphine Rose CardinaleCavaliere di Gran Croce dell'OMRI^[1] (French:[klodʒozefinʁozkaʁdinal]; born 15 April 1938), known asClaudia Cardinale (Italian:[ˈklaudjakardiˈnaːle]), is an Italian actress.

Claudia Cardinale
Cardinale inThe Pink Panther (1963)
Born	Claude Joséphine Rose Cardinale (1938-04-15)15 April 1938 (age 86) Tunis,French Tunisia
Citizenship	Italy (from father)
Occupation	Actress
Years active	1957–present
Partners	Franco Cristaldi (1966–1975) Pasquale Squitieri (1975–2017; his death)
Children	2
Relatives	Francesca Cardinale (niece)
Website	official-claudiacardinale.com

Born and raised inLa Goulette, a neighbourhood ofTunis, Cardinale won the "Most Beautiful Italian Girl in Tunisia" competition in 1957, the prize being a trip to Italy, which quickly led to film contracts, due above all to the involvement ofFranco Cristaldi, who acted as her mentor for a number of years and later married her. After making her debut in a minor role with Egyptian starOmar Sharif inGoha (1958), Cardinale became one of the best-known actresses in Italy, with roles in films such asRocco and His Brothers (1960),Girl with a Suitcase (1961),Cartouche (1962),The Leopard (1963), andFellini's8½ (1963).^[a]

From 1963, Cardinale appeared inThe Pink Panther oppositeDavid Niven. She went on to appear in the Hollywood filmsBlindfold (1965),Lost Command (1966),The Professionals (1966),Don't Make Waves (1967) with Tony Curtis,The Hell with Heroes (1968), and theSergio Leone WesternOnce Upon a Time in the West (1968), a joint US-Italian production, in which she was praised for her role as a former prostitute oppositeJason Robards,Charles Bronson, andHenry Fonda.

Jaded with the Hollywood film industry and not wanting to become a cliché, Cardinale returned to Italian and French cinema, and garnered theDavid di Donatello for Best Actress award for her roles inIl giorno della civetta (1968) and as a prostitute alongsideAlberto Sordi inA Girl in Australia (1971). In 1974, Cardinale met directorPasquale Squitieri, who would become her partner, and she frequently featured in his films, includingI guappi (1974),Corleone (1978), andClaretta (1984), the last of which won her theNastro d'Argento Award for Best Actress. In 1982, she starred inWerner Herzog'sFitzcarraldo as the love interest ofKlaus Kinski, who raises the funds to buy a steamship inPeru. In 2010, Cardinale received the Best Actress Award at the47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student inSignora Enrica.

Outspoken onwomen's rights causes over the years, Cardinale has been aUNESCO goodwill ambassador for the Defence of Women's Rights since March 2000. In February 2011, theLos Angeles Times Magazine named Cardinale among the 50 most beautiful women in film history.

Claudia Cardinale was born Claude Joséphine Rose Cardinale inLa Goulette, a neighbourhood ofTunis, in theFrench protectorate of Tunisia, on 15 April 1938.^[6][7] Her father, Francesco Cardinale, was a railway worker, born inGela, Sicily.^[8] Her mother Yolande Greco was born in the thenItalian Tripolitania toSicilian parents emigrants fromTrapani^[8] where they owned a small shipbuilding firm. They later settled in La Goulette, which had a large Italian community. At home, she would speak French only,^[9] but also speaksTunisian Arabic, and theSicilian language of her parents. She did not learn speak a word of Italian until she started being cast in Italian films^[10].^[11]

Cardinale was educated at the Saint-Joseph-de-l'Apparition School ofCarthage, which she attended along with her younger sister Blanche.^[12] She then studied at the Paul Cambon School, graduating with the intention of becoming a teacher.^[13] As a teenager, she was described as "silent, weird, and wild", and like other young women of her generation, was fascinated byBrigitte Bardot, who came to prominence in the 1956 filmAnd God Created Woman, directed byRoger Vadim.^[14]

Cardinale's first film work was participating, along with classmates, in a short film by French directorRené Vautier,Anneaux d'or, successfully presented at theBerlin Film Festival. The film made her a minor local celebrity,^[15] and led to her being spotted byJacques Baratier, who offered her a minor role inGoha. She accepted it reluctantly after Baratier explained he wanted a Tunisian actress rather than an Italian to star in the main role opposite Egyptian actorOmar Sharif. The appearance nonetheless marked her feature-film debut.^[16] The turning point came in 1957 during the Italian Cinema Week in Tunis, when she won a competition for the "Most Beautiful Italian Girl in Tunisia",^[17] with a trip to theVenice Film Festival as first prize. After being spotted by several film producers at the event, she was invited to study at theExperimental Cinematography Centre in Rome underTina Lattanzi. She attended briefly as, despite her extremely photogenic looks, she had trouble with her acting assignments (partly owing to her difficulties with the Italian language).^[18] She left at the end of her first term and decided to return home, earning herself a cover story in the popular weeklyEpoca triggered by her unexpected decision to turn her back on a career as a film star.^[19][b]

Back in Tunis, however, Cardinale discovered unexpectedly that she was pregnant, the result of what she later described as a "terrible" relationship with a Frenchman, some 10 years her senior, which began when she was only 17 and lasted for about a year. On this discovery, he wanted her to have an abortion, but she decided to keep the child.^[23] She solved her problems by signing a seven-year exclusive contract withFranco Cristaldi's production company Vides.^[24][25][c] Cristaldi largely managed her early career, and she was married to him from 1966 until 1975.^[26]

Under the new contract, in 1958, Cardinale was given a minor role with Italian actorsVittorio Gassman,Totò,Marcello Mastroianni, andRenato Salvatori inMario Monicelli's internationally successful criminal comedyBig Deal on Madonna Street (I soliti ignoti).^[27] She portrayed Carmelita, a Sicilian girl virtually imprisoned in her home by her overpowering brother. The comedy was a huge success, making Cardinale instantly recognisable. Some newspapers were already referring to her as "la fidanzata d'Italia" (Italy's sweetheart).^[28] Later that year, she had a leading role oppositeYvonne Monlaur inClaudio Gora's romantic comedyThree Strangers in Rome.^[29]

Although she worked well into her seventh month, Cardinale's pregnancy was kept a tight secret. Tormented by thoughts of suicide, she fell into a state of depression.^[30] When she thought she could no longer hide her condition, she asked Cristaldi to terminate her contract. Understanding her predicament, he sent her to London for the birth, far away from the press. He simply explained that she had gone to England to learn English for a film.^[31] Cristaldi told Cardinale not to reveal her condition, as she would be betraying the public and it would put an end to her career. So as to maintain the secret, he drew up a detailed American-style contract covering every little detail of her life, depriving her of any possibility of acting on her own behalf.^[32] Cardinale explained: "I was no longer master of my own body or thoughts. Even talking with a friend about anything that could make me look different from my public image was risky, as if it had been publicized, I would have been in trouble. Everything was in the hands of Vides".^[33] For seven years, Cardinale kept her secret, not only from the public, but also from her own son, Patrick, who grew up in the family with her parents and sister more or less as a brother^[34] until the dayEnzo Biagi, a journalist, discovered the truth. After Cardinale decided to tell him everything, he published her story inOggi andL'Europeo.^[35]

In 1959, she appeared opposite Salvatori in the mafia filmVento del sud, and played the wife ofMaurizio Arena inLuigi Zampa'sIl magistrato.^[36] Cardinale also starred oppositePietro Germi in his crime filmThe Facts of Murder, an important assignment for her in mastering the craft of acting while learning to feel at ease in front of the camera.^[37] Cardinale considered it to have been her first real test as an actress.^[38] She then played the role of Maria inRalph Thomas's British filmUpstairs and Downstairs, which starredMichael Craig andAnne Heywood.^[39] In her early roles, she was usuallydubbed, as producers considered her voice too hoarse.^[40]

In 1960, Cardinale starred opposite Marcello Mastroianni inMauro Bolognini'sGolden Leopard-winning drama filmIl bell'Antonio.^[41] The film marked the start of a fruitful partnership. Cardinale stated that her films with Bolognini were among the most joyful of her career, considering him to be "a great director, a man of rare professional capability, great taste, and culture. Beyond that, for me personally, a sensitive and sincere friend."^[42] In Bolognini's films, thanks to her aesthetic femininity, Cardinale took roles of manipulative women who lead men toperdition. During the filming ofIl bell'Antonio, her co-star Marcello Mastroianni fell in love with her, but she rejected him, as she did not take his love seriously, considering him to be one of those actors who cannot help but fall in love with their co-stars.^[43] Mastroianni insisted that his feelings were genuine, even after many years.^[44] The genuine empathy between the two actors proved to be ideal for reproducing the tension between the characters in the film. Cardinale next portrayed Pauline Bonaparte inAbel Gance's French filmNapoleone ad Austerlitz,^[45] and after appearing opposite Gassman and Salvatori in the sequel toBig Deal on Madonna Street,Audace colpo dei soliti ignoti, she portrayed Ginetta, the fiancée ofSpiros Focás, alongside Salvatori andAlain Delon inLuchino Visconti's critically acclaimedRocco and His Brothers.^[46] However, her leading performance inFrancesco Maselli'sSilver Spoon Set gained her most attention during this period.^[27] Francesco Freda felt the film paved her way "to great success", noting the "sweetness of her smile" which struck a chord with the public.^[47]

In 1961, Cardinale portrayed a sultrynightclub singer and young mother inValerio Zurlini'sGirl with a Suitcase. As a result of her own experience of early motherhood, Cardinale naturally conveyed the concerns of a teenaged mother, identifying fully with the character of Aida.^[48] Such was her psychological involvement that she needed several months to overcome her apprehensions and prepare for the part.^[49] Zurlini chose her for such a difficult role against everyone's advice, as she was not yet considered a "real" actress, nor was she (yet) one of the most celebrated Italian beauties.^[50] He was very close and supportive of Cardinale during the production, though, and a true friendship developed between the two, based on a deep mutual understanding. Cardinale remarked: "Zurlini was one of those who really love women: he had an almost feminine sensitivity. He could understand me at a glance. He taught me everything, without ever making demands on me. ... He was really very fond of me."^[48] Cardinale was warmly praised by the critics for her performance inGirl with a Suitcase, Dennis Schwartz considering her to have been at her "charming best".^[51] Later in 1961, Cardinale starred as a prostitute oppositeJean-Paul Belmondo in Bolognini'sLa Viaccia. BothGirl with a Suitcase andLa Viaccia were presented at the1961 Cannes Film Festival. At the time, Cardinale was not considered comparable to the two divas of Italian cinema,Sophia Loren andGina Lollobrigida, but several newspapers and magazines, includingParis Match, began to consider her to be a credible young rival to Brigitte Bardot.^[52] Cardinale's 1961 appearances also includedHenri Verneuil's French comedyLes Lions sont lâchés^[53] andAuguste, in which she had a cameo role.^[54]

The following year, Cardinale starred opposite Jean-Paul Belmondo as Vénus in the 18th-century set adventureCartouche, which made her a major star in France.^[55] She also played Angiolina, the romantic interest ofAnthony Franciosa in Bolognini'sSenilità, a character which film writer Jacek Klinowski describes as "a spirited and strikingly beautiful 20-year-old".^[56] In 1962, Cardinale was interviewed by the writerAlberto Moravia, who focused exclusively on her sexuality and body image in films, treating her as an object. Cardinale remarked to him: "I used my body as a mask, as a representation of myself".^[57] The interview was published inEsquire under the title "The Next Goddess of Love". Cardinale was amused to discover that the interview had inspired the writer to publishLa dea dell'amore ("Goddess of Love") the following year, in which one of the characters, with her fine physical appearance and natural curves, closely resembled Cardinale.^[57] Just a few years later, she played a similar character in a film based on another novel by Moravia,Time of Indifference.^[58]

The finest and most prolific year of her career was 1963, when she appeared in a number of leading productions.^[59] She starred alongsideBurt Lancaster inVisconti'sThe Leopard (1963) (Il Gattopardo), portraying a village girl who married a progressive young aristocrat (Alain Delon), and played a film actress cast by a director (Marcello Mastroianni) inFederico Fellini's8½. Both films were critically acclaimed and are often cited by critics and scholars as among the greatest films ever made.^[60][61] She participated in the two films during exactly the same period, frequently moving from one to the other and experiencing the strictly planned approach of Visconti, which contrasted strongly with Fellini's much more relaxed style and his almost total reliance on improvisation.^[62] Cardinale remembered Visconti's set as having an almost religious atmosphere, everything focused on the film, far removed from the outside world. Visconti needed silence for his work, while Fellini preferred noise and confusion.^[63]

Prior to this period, Cardinale's own voice had not been used in her Italian films, as it was considered too hoarse, and owing to her French accent, insufficiently Italian.^[64][65] Not until8½ was she allowed to use her own voice.^[64][66] Cardinale explained: "When I arrived for my first movie, I couldn't speak a word. I thought I was on the moon. I couldn't understand what they were talking about. And I was speaking in French; in fact, I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice."^[62] With her portrayal of Angelica inThe Leopard and her brief appearance as herself in8½, Cardinale achieved the definitive status of a top-ranking star.^[67]

The same year, Cardinale starred as Mara inLa ragazza di Bube orBebo's Girl,^[68] in which she also used her own voice. For her performance in the film, she received her firstNastro d'Argento for Best Actress in 1965.^[69] Cardinale acted in her first American film (although it was produced in Italy) when she played Princess Dala, a wealthy aristocratic woman who is the love and jewellery interest ofDavid Niven in theCortina d'Ampezzo-setThe Pink Panther. Cardinale's voice in the film was dubbed byGale Garnett, who went uncredited.^[70] Niven raved about working with the actress, telling her, "After spaghetti, you're Italy's happiest invention."^[71]

In 1964, Cardinale starred alongsideRod Steiger andShelley Winters inFrancesco Maselli's Italian-madeTime of Indifference. Thereafter, she spent three years in the United States, where she starred in several Hollywood films. She told of how she benefited from the arrangement, explaining it was an American initiative at a time when they invited all the successful European actresses to perform in their pictures, hoping to create a monopoly. Many suffered from the experience, but she was able to hold her own: "I took care of my own interests, blankly refusing to sign an exclusive contract withUniversal Studios. I only signed for individual films. In the end, everything worked out fine for me.^[72] She first starred in theHenry Hathaway's Hollywood pictureCircus World (1964) oppositeJohn Wayne andRita Hayworth, playing the daughter of Hayworth, who performs with her as a mother-daughter circus act.^[73] By the end of the decade, she had returned to making films primarily in Italy, accepting a pay cut, turning her back on Hollywood stardom. Cardinale has further said, "I don't like the star system. I'm a normal person. I like to live in Europe. I mean, I've been going to Hollywood many, many times, but I didn't want to sign a contract."^[74] Film writer David Simpson notes that as a result, "Cardinale never achieved the same level of fame as Loren and Gina Lollobrigida", although she appeared in a higher number of decent films.^[75]

In 1964, she also played the lead role inThe Magnificent Cuckold, based on the Belgian playLe Cocu magnifique.^[76] She was at the height of her sensuality at the time, but later the film only brought back unpleasant memories for her as she experienced little empathy with the directorAntonio Pietrangeli, while the male starUgo Tognazzi tried to seduce her.^[77] In 1965, Cardinale appeared in Visconti'sVaghe stelle dell'Orsa, known asSandra (Of a Thousand Delights) in the US andOf These Thousand Pleasures in the UK, playing aHolocaust survivor who may have had anincestuous relationship with her brother.^[78] Later that year, she starred opposite Rock Hudson inUniversal Pictures'sBlindfold, the last film to be directed byPhilip Dunne. Filming began on 22 February 1965 on location inOcala, Florida.^[79]Diane Bond doubled for Cardinale in the film.^[80] Cardinale became good friends with Hudson, who proved to be very protective of her, knowing her discomfort outside of Italy. While in Hollywood, Cardinale also became friends withBarbra Streisand,Elliott Gould, andSteve McQueen, but she never managed to feel at home there.^[81]

By 1966, Cardinale was being cited as the most popular film star in Italy, even more than Mastroianni and Loren.^[65]Life stated that "the Cardinale appeal is a blend of solid simplicity and radiant sensuality. It moves men all over the world to imagine her both as an exciting mistress and wife."^[65] However, following her success in Hollywood, she began to express concerns about the direction of her career. In a July 1966 interview withLife, she confessed her fear of being overglamourized and exploited, like Sophia Loren, and although she had several further US films lined up, stated: "If I have to give up the money, I give it up. I do not want to become a cliché."^[65]

In 1966, a photograph of Cardinale was featured in the original gatefold artwork toBob Dylan's albumBlonde on Blonde (1966), but it was used without her permission and removed from later pressings.^[82] That year, she starred inMark Robson's war pictureLost Command forColumbia Pictures oppositeAnthony Quinn, Alain Delon, andGeorge Segal. Quinn expressed his love of working with Cardinale, stating that although he adored Cardinale and Loren equally, "I relate easier to Claudia; Sophia creates an impression of something larger than life, something unobtainable. But Claudia – she's not easy, still she's within reach".^[65] She also played a Mexican marquessa inRichard Brooks' WesternThe Professionals, uniting her on screen once again with Burt Lancaster in what she considered to be her best American film.^[83] The following year, she appeared inUna rosa per tutti (A Rose for Everyone) and inAlexander Mackendrick'ssex farceDon't Make Waves oppositeTony Curtis. Although occasional funny moments were noted,Don't Make Waves was generally panned by the critics and the lack of chemistry with co-star Curtis was highlighted.^[84]Leonard Maltin, though, described the film as "a gem".^[85]

At the beginning of 1967, Cristaldi joined her in the United States. While the two were staying in Atlanta, he surprised her by taking her to their wedding ceremony, which he had arranged without her knowledge. She went ahead with the ceremony, but was concerned about sacrificing the rights she had to her child Patrick. She also realised she was increasingly unable to make decisions about her own life.^[86] The marriage was never made official in Italy.^[87]

In 1968, Cardinale featured oppositeFranco Nero inThe Day of the Owl, in aDavid di Donatello for Best Actress-winning performance. She reunited with Rock Hudson in the Italian-made criminal comedyA Fine Pair under director Francesco Maselli. She also appeared alongsideRod Taylor inThe Hell with Heroes and starred in one of her best-known roles as former prostitute Jill McBain inSergio Leone's epic WesternOnce Upon a Time in the West.^[88] Such was the power of her performance as the whore that Leone's biographer Robert C. Cumbow described her as "permanently engraved in cinematic history" and noted how suited to the role she was: "Her sex-goddess appearance combines with her more mystical iconographic associations to ease the progress of Jill from tart to town builder, from harlot to earth mother, from sinner to symbol of America—the apotheosis of the harlot with a heart of gold."^[89] In 1969, Cardinale starred oppositeNino Manfredi inLuigi Magni'sNell'anno del Signore, based on the actual story of the capital execution of twocarbonari inpapal Rome. This was followed by a role as a telephone operator inCerto certissimo ... anzi probabile, and as a nurse oppositeSean Connery andPeter Finch inMikhail Kalatozov'sThe Red Tent, based on the story of the mission to rescueUmberto Nobile and the other survivors of the crash of theAirship Italia.^[90]

In 1970, Cardinale starred oppositePeter McEnery andEli Wallach inJerzy Skolimowski's comedy filmThe Adventures of Gerard, based onThe Exploits of Brigadier Gerard byArthur Conan Doyle.^[91] In 1971, she formed a duo with Brigitte Bardot in the French Western-comedyThe Legend of Frenchie King, and appeared as a prostitute oppositeAlberto Sordi in Luigi Zampa's comedyA Girl in Australia. The film, shot on location in February and March 1971, earned Cardinale aBest Actress award at theDavid di Donatello Awards the following year.^[92] In 1972, Cardinale appeared inMarco Ferreri'sL'udienza, which was screened at the22nd Berlin International Film Festival. She also featured inLa Scoumoune with Jean-Paul Belmondo andMichel Constantin.^[93] After a role as a Russian aristocrat oppositeOliver Reed inOne Russian Summer (1973), set in prerevolutionary Russia, Cardinale starred oppositeFranco Nero inI guappi (1974), ahistorical drama film with "poliziotteschi" and "noir" elements.^[94] Cardinale and the directorPasquale Squitieri met for the first time on set, and he soon became her husband.^[95]

In 1975, Cardinale played the daughter of a political exile (Adolfo Celi) inMauro Bolognini'sLibera, My Love, a character who becomes "increasingly incensed by the fascist government of Italy and makes a number of bold and very personal gestures against it".^[96] Later that year she appeared in the comediesThe Immortal Bachelor with Vittorio Gassman andBlonde in Black Leather withMonica Vitti. Vitti's biographer noted how Cardinale and Vitti stood out as the female duo in a predominantly masculine cast.^[97]In 1976, Cardinale appeared in the sex comedyA Common Sense of Modesty, which was directed and written by Alberto Sordi, who also co-starred.^[98] The following year, she had a biblical role as theadulteress in theJesus of Nazareth miniseries, which featuredRobert Powell asJesus,Anne Bancroft asMary Magdalene, andErnest Borgnine asCornelius the Centurion.^[99] Cardinale starred in her husband'sIl prefetto di ferro, which tells the story ofCesare Mori (Giuliano Gemma), an Italian prefect that before and during theFascist period was best known as "the Iron Prefect". The film shared the 1978 David di Donatello for Best Film award withIn nome del Papa Re.^[100] In 1978, Cardinale appeared inDamiano Damiani's political thriller,Goodbye & Amen – L'uomo della CIA, and again featured alongside Gemma in her husband's gangster picture,Corleone, set in 1950s Sicily.^[101]After a role in another Squitieri film in 1978,L'arma, Cardinale portrayed Eleana, a Greek "gutsy brothel madame" and the girlfriend ofTelly Savalas inGeorge P. Cosmatos's adventure war film,Escape to Athena (1979).^[102] The film, shot on location inRhodes, was poorly received; it holds a 32% "rotten" rating onRotten Tomatoes as of July 2015^[update].^[103]

After a role inSi salvi chi vuole (1980), and a smaller part inPeter Zinner'sThe Salamander opposite Franco Nero, Anthony Quinn, andChristopher Lee,^[104] Cardinale played the love interest of Marcello Mastroianni inLiliana Cavani's war pictureThe Skin, a film which also reunited her with Burt Lancaster.^[105]The Skin was entered into the1981 Cannes Film Festival.^[106] In 1982, Cardinale appeared in Werner Herzog'sFitzcarraldo, playing a successful brothel owner who funds Klaus Kinski's purchase of an old steamship in South America. The film, inspired by the story of Peruvian rubber baronCarlos Fermín Fitzcarrald, was shot on location in Brazil and Peru. The film was critically acclaimed, withVincent Canby ofThe New York Times calling it "a fine, quirky, fascinating movie" and a "stunning spectacle", comparing the dynamic between Kinski and Cardinale toKatharine Hepburn andHumphrey Bogart inJohn Huston'sThe African Queen. He pointed out that although Cardinale's screen time in the film was not substantial, she set its comic tone; he praised the way she managed to turn Kinski, renowned for his volatile temperament and portrayals of megalomaniacs and criminals, into a "genuinely charming screen presence", adding a new dimension to his acting career.^[107] Later that year, Cardinale played oppositePierre Mondy in the sex farceLe Cadeau, a role which biographers Lancia and Minelli say was played with a "mature charm and expressiveness".^[108]

In 1983, Cardinale had a role in theWaris Hussein miniseriesPrincess Daisy, and featured alongsideLino Ventura andBernard Giraudeau in the French-Canadian filmLe Ruffian.^[109] In 1984, she played the love interest of Marcello Mastroianni in aMarco Bellocchio production ofHenry IV, based on theLuigi Pirandello play of thesame name. It was entered into the1984 Cannes Film Festival.^[110] Squitieri'sClaretta (1984), featuring Cardinale and Gemma, was entered into the competition at the41st Venice International Film Festival. Cardinale's performance asClaretta Petacci garnered her theNastro d'Argento for Best Actress.^[111] In 1985, Cardinale starred oppositeBen Gazzara andLina Sastri inAlberto Bevilacqua'sLa donna delle meraviglie.^[112] It entered the competition at the 1985 Venice International Film Festival.^[113]

In 1986, Cardinale was involved in the making of two films for television. In Comencini'sLa storia (fromElsa Morante's novel), Cardinale portrayed a widow raising a son during World War II. In her husband'sNaso di Cane, a miniseries, Enrico Lancia and Roberto Poppi praised her for her "light comic touch".^[114] In 1987, Cardinale starred oppositePeter Coyote,Greta Scacchi, andJamie Lee Curtis inDiane Kurys's filmA Man in Love (Un homme amoureux), Kurys's first English-language feature. It was entered into the1987 Cannes Film Festival.^[115] Cardinale's performance as Scacchi's cancer-stricken mother was praised by critics, withDesson Howe ofThe Washington Post highlighting the "warm and radiant" elements that she brought to the role,^[116] andHal Hinson, also ofThe Post, comparing Scacchi to having "the same kind of sensuality that Cardinale brought to her earlier roles".^[117] After a role in the comedy,Blu elettrico (1988), Cardinale portrayedYolande de Polastron, a favourite ofMarie Antoinette's, in the two-part filmLa Révolution française in 1989. Made to celebrate the bicentennial anniversary of theFrench Revolution, the 360-minuteRobert Enrico andRichard T. Heffron film was an international production, boasting a cast which includedKlaus Maria Brandauer,Jane Seymour andPeter Ustinov.^[118]

In 1990, Cardinale starred oppositeBruno Cremer in Squitieri'sAtto di dolore, and appeared in the Morocco-set Soviet-Italian production,La battaglia dei tre tamburi di fuoco.^[119]In 1991, Cardinale featured alongsideRichard Berry and Omar Sharif inHenri Verneuil'sMayrig (meaning "mother"), a film about the struggles of an Armenian family that emigrates toMarseille from Turkey after theArmenian genocide of 1915. Such was the success of the film that Verneuil made a sequel the following year,588, rue Paradis, also featuring the cast. Cardinale was praised by critics for her role as the mother; theArmenian General Benevolent Union of America noted the "flawless performance of these intrepid actors, especially of Claudia Cardinale".^[120] In 1993, Cardinale won the Leone d'oro alla carriera award at the Venice Film Festival, in which she was honoured along with Roman Polanski, Robert De Niro, and Steven Spielberg. Cardinale agreed to reunite with Blake Edwards,Herbert Lom, andBurt Kwouk to celebrate the 30th anniversary ofThe Pink Panther by makingSon of the Pink Panther. It was Edward's last film, but was a critical and commercial failure, with critics despairing at the "painfully unfunny script" and the performance ofRoberto Benigni as Clouseau, which earned him theRazzie Award forWorst New Star. As of July 2015^[update], it has a rating of just 6% on Rotten Tomatoes based on 34 reviews.^[121]In 1994, Cardinale had a role inCharlotte Dubreuil'sElles ne pensent qu'à ça..., and the following year appeared in the French TV serial10-07: L'affaire Zeus.^[122]

In 1997, Cardinale featured in the British-Italian television drama miniseriesNostromo, directed byAlastair Reid and produced byFernando Ghia of Pixit Productions, a co-production withRadiotelevisione Italiana,Televisión Española, andWGBH Boston.^[123] It is described as "an adaptation ofJoseph Conrad's epic storyNostromo of political upheaval, greed, and romance in turn-of-the-20th-century South America."^[124] Cardinale and the cast were nominated for anALMA Award for Outstanding Latino/a Cast in a Made-for-Television Movie or Mini-Series. Later in 1997, Cardinale appeared in the filmsSous les pieds des femmes and her husband'sStupor Mundi, in which she portrayedConstance of Aragon.^[125] In 1998, Cardinale portrayed the mother ofLola Naymark in the French pictureRiches, belles, etc., a wealthy baroness who leaves her hotel to her daughter to care for during her absence.^[126] The following year, Cardinale played the peasant mother of two children who are members ofCarmine Crocco's (Enrico Lo Verso's) army during theGaribaldi era, in Cristaldi's historical filmLi chiamarono... briganti!. Poorly received, the film was boycotted, and the producers have since refused to assign the broadcasting rights.^[127]

In 2000, Cardinale embarked on her stage career, starring inMaurizio Scaparro's stage production ofLa Venexiana, adapted byRené de Ceccatty, at theThéâtre du Rond-Point in Paris.^[128]She also appeared in her husband's television film,Élisabeth - Ils sont tous nos enfants. Two years later, Cardinale went on a theatrical tour of Italy, performing inLuigi Pirandello'sCome tu mi vuoi, which Squitieri directed. She appeared as what Roger Ebert described as a "faded countess" oppositeJeremy Irons inClaude Lelouch's thriller filmAnd Now... Ladies and Gentlemen,^[129] portraying a character who spends her time inFez, Morocco, with handsomegigolos.^[130] The film was screened out of competition at the2002 Cannes Film Festival.^[131]And Now... Ladies and Gentlemen received mixed reviews; A. O. Scott ofThe New York Times dismissed it as "sublimely silly", but praised the "impeccableCinemaScope compositions" and the "lush, suave score" byMichel Legrand.^[130]

In 2005, Cardinale appeared in aPhilippe Adrien stage production ofTennessee Williams'sSweet Bird of Youth, and in the 2006/2007 season also featured in another Williams play,The Glass Menagerie, directed byAndrea Liberovici, in which she played the character of Amanda.^[132] In 2007, Cardinale appeared in theAline Issermann comedy filmCherche fiancé tous frais payés, oppositeAlexandra Lamy andBruno Salomone,^[133] in a role whichPatrick Besson described as "atrocious".^[134] After a role in the TV movieHold-up à l'italienne (2008), the following year Cardinale starred in the critically acclaimedThe String, playing a Tunisian mother who has a tempestuous relationship with her French-educated gay son.^[135] Michael D. Klemm of cinemaqueer.com reflected on how the film broke many of the taboos with interracial sexuality and homosexuality. He praised Cardinale's "terrific" acting and portrayal of the "overbearing" mother, likening one scene, where she "brings home a nice girl for Malik (Antonin Stahly) to meet", toHarold and Maude (1971).^[136]

In 2010, Cardinale received the Golden Orange Best Actress Award at the47th Antalya "Golden Orange" International Film Festival for her performance as an elderly Italian woman who takes in a young Turkish exchange student inSignora Enrica.^[137] The Turkish-Italian co-production was shot in locations inIstanbul andRimini.^[138]

In 2012, Cardinale featured oppositeJeanne Moreau andMichael Lonsdale in the final feature film to be directed by Portuguese directorManoel de Oliveira,Gebo and the Shadow. Critically acclaimed, it has a rare100% rating on Rotten Tomatoes,^[139] and was shown at the69th Venice International Film Festival.^[140]The Hollywood Reporter described it as the "ensemble of superb older performers who comprise the remainder of the dramatis personae".^[141] Another excellent film in which Cardinale acted, released in 2012, wasThe Artist and the Model. In it, she starred along withJean Rochefort. In 2013, Cardinale starred alongside supporting actressesPatricia Black and Chloé Cunha inNadia Szold'sJoy de V.,^[142] and had a role inErnst Gossner's war dramaThe Silent Mountain, a love story set in theDolomite Mountains at the outbreak of World War I between Italy and Austria-Hungary in 1915. Gossner described her as "a terrific spirit on the set", and noted that Cardinale told the production team "legendary stories" about Marcello Mastroianni.^[143] In 2014, Cardinale portrayed a "sympathetic Italian chaperone" viscountess in the British period drama filmEffie Gray, which was written byEmma Thompson (whom Cardinale shares birthday with) and featuredDakota Fanning in the lead role.^[144] While promotingEffie Gray, in an interview Cardinale said: "I still continue to work, it's 142 movies now. Usually when you are old you don't work any more, but I still work, which is good.... I've been very lucky because I've had many fantastic directors with me, Fellini, Visconti, Blake Edwards, lots and lots...".^[145]

On 11 October 2018 she received the Tabernas de Cine award in theAlmería Western Film Festival.^[146]

In 2020, Cardinale headlined the Swiss miniseriesBulle. Later that year, she had a role in theNetflix filmRogue City. In its debut weekend, it was the second most-streamed film on the site.^[147]

Claudia Cardinale met the Italian film producerFranco Cristaldi in 1958.^[25] According to Cardinale, the couple had a marriage party but did not marry,^[148] and they became increasingly detached. Cristaldi later marriedEritrean model and actressZeudi Araya and had no further relationship with Cardinale.^[149]

Cardinale lived withPasquale Squitieri, an Italian film director, for 42 years, from 1975^[150] until Squitieri died on 18 February 2017, aged 78.^[151]

Cardinale has two children: Patrick, who was born when she was 19 and later adopted by Cristaldi,^[152] and Claudia,^[153] whom she had with Squitieri.

Cardinale is fluent in Arabic,French,Italian,English, andSpanish.^[154] Her nieceFrancesca is also an actress.^[155]

Cardinale is a political liberal who has supportedfeminist causes over the years. Although she lives in Paris, Cardinale is fiercely outspoken about being identified as an Italian. She has been aUNESCO goodwill ambassador for the Defence of Women's Rights since March 2000,^[156] and was a goodwill ambassador for the UNESCOWorld Water Day for 2006.^[157]

Cardinale published an autobiography with Anne Mori,Io Claudia, Tu Claudia, in 1995.^[11] She has been a regular attendee of the Academy Awards. Her awards have included an honoraryGolden Lion at the 1993Venice Film Festival, and anHonorary Golden Bear at the 2002Berlin Film Festival. TheLos Angeles Times Magazine, in a February 2011 online feature, named Cardinale among the 50 most beautiful women in film history.^[158][159] Cardinale said of her acting, "I never felt scandal and confession were necessary to be an actress. I've never revealed myself or even my body in films. Mystery is very important."^[160] In a 2014 interview, she revealed her secret of success: "If you want to practise this craft, you have to have inner strength. Otherwise, you'll lose your idea of who you are. Every film I make entails becoming a different woman. And in front of a camera, no less! But when I'm finished, I'm me again."^[71]

• Official website 
• "Claudia Cardinale".BFI Film & TV Database. Archived fromthe original on 5 August 2012.
• Claudia Cardinale atIMDb
• "Claudia Cardinale".Virtual History. Film.