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Sophia Loren

Gina Lollobrigida – the temptress of the Tiber

1958. Gina Lollobrigida in Solomon and Sheba. Photo by Leo Fuchs. Read more.

Gina Lollobrigida was one of the great international sex symbols of postwar cinema.

In its January 1956 issue, Modern Screen magazine reported that:

L’Italienne is downright gorgeous but you can find others just as beautiful. But she is currently the most important international star. Almost single-handed, Gina of the unpronounceable last name has lifted the Italian film industry up to glossy respectability and reasonable solvency.

The “unpronounceable last name” was regularly abbreviated to La Lollo, and a few websites suggest that the frilly red lettuce lollo rosso was named after her tousled coiffure or even her panties – seriously? 

The previous year she had played the title role in La donna più bella del mondo (literally, The Most Beautiful Woman in the World but released to English-speaking audiences as Beautiful But Dangerous). It was a sobriquet enthusiastically embraced both by the star herself and by the salivating media.

And before that, in October 1954, Pane, amore e fantasia (Bread, Love and Jealousy) had been the hit of Italian Film Week in London and Gina had been presented to the Queen. It was an early triumph but also a reminder that she had competition. At the premiere she had been rather upstaged by another upwardly mobile actress, Sophia Loren, who had drawn attention with a daringly low-cut gown. Swords had been crossed and the feud continued for decades.

Until the mid-fifties Gina had been seen mostly in Italian films but she was about to star in a series of hit movies made for the US market that would transform her hitherto limited fan base – films like Trapeze (1956), The Hunchback of Notre Dame (1956) and Solomon and Sheba (1959).

In a career that stretched from 1946 to 2011, IMDb credits Gina with 69 appearances on screen. While the movies in which she starred vary in quality, they demonstrate her flexibility as an actress, perfectly at home in serious drama, romantic comedy and high farce. Although she was always considered more a sex symbol than a serious actress, she won more than a dozen awards including three for best actress at the David di Donatello awards (Italy’s equivalent of the Oscars).

Around 1955. Gina Lollobrigida snapped by a paparazzo. Read more.

Growing up

Gina Lollobrigida is born in 1927, one of four daughters whose father is a furniture maker. Towards the end of World War II, their home is destroyed by Allied air attacks and the family moves to Rome, where they end up living in a single room. Gina would tell the Associated Press in 1994:

I know what it is to be hungry. I know what it is to lose your home. I remember when I had fear. I know what it is to grow up never having a toy.

To get an impression of the poverty and desperation around at the time, you have only to watch Vittorio De Sica’s 1948 neorealist film Ladri di biciclette (Bicycle Thieves).

After school, Gina has lessons in singing, dancing and drawing. To help pay for these, she does sketches of American GIs and part-time work modelling for comics. And it turns out that there’s another opportunity too. In her own words as reported in La Stampa (a newspaper) in 2001:

I had two directors stop me twice outside of my school and ask if I wanted to be in movies. Curiosity led me to make appearances in two or three films. Then when I was offered the lead role in Love of a Clown [based on the opera Pagliacci] I absolutely refused.

My final strategy for getting them to leave me alone was to ask to be paid one million [lire], which was a lot compared to the 1,000 I earned for secondary roles. I thought this would be enough to discourage anyone. To my great surprise they accepted and this is how I began my cinema career.

Or perhaps not so surprising given her hourglass figure, her sultry looks and the reputation she’s built already for diligently learning her lines and taking her work seriously. Pagliacci – Amore tragico is released in 1948 and she’s on her way to stardom.

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Gina Lollobrigida at the Cannes Film Festival in 1958

Gina Lollobrigida at the Cannes Film Festival

1958. Gina Lollobrigida, surrounded by photographers, makes an entrance at the Cannes Film Festival.

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Gina Lollobrigida conversion behind the scenes as director John Sturges looks on

Gina Lollobrigida behind the scenes

1959. Gina Lollobrigida conversing behind the scenes of Never So Few. Director John Sturges (wearing glasses) looks on.

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Gina Lollobrigida with her minder

Gina Lollobrigida with her minder

Around 1960. Is that Gina Lollobrigida's minder behind her or someone else? Unfortunately the caption is missing from the back of the photo. Photo by Leo Fuchs.

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Gina Lollobrigida dining with André Maurois

Gina Lollobrigida dining with André Maurois

1965. Gina Lollobrigida dining with French author André Maurois at the Cannes Film Festival.

Gina Lollobrigida and Milko Skofic

The following year she marries a doctor from Slovenia (then part of Yugoslavia) who is helping refugees temporarily being put up at Rome’s Cinecittà film studios. Throughout the fifties, the couple are more or less inseparable, their relationship reported with a mix of enthusiasm and implicit astonishment by various movie magazines such as Modern Screen. This is from an article, Gina Lollobrigida and her backstage husband, which appears in the January 1956 edition: 

For eight of her 27 years she’s been married to the same man, Dr. Milko Skofic. They say the Skofics don’t have trouble because the good doctor is so madly jealous he never leaves his glamorous wife’s side long enough for trouble to begin. Well, he’s only in Paris (where Gina’s making Trapeze with Lancaster and Curtis) on week ends but Gina just isn’t interested in anyone but Milko.

Skofic has not yet lived down the decision they both made soon after the marriage. He chose to manage his wife’s career instead of continuing his medical practice. As a foreigner and a refugee he was faced with difficulties in reestablishing himself. But Gina’s star was rising and she needed advice. She still does.

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Gina Lollobrigida being laced into a corset for a scene from Crossed Swords

Hourglass Gina

1954. Her dresser laces Gina Lollobrigida's corset to emphasize her already voluptuous curves. You can see the result in Il maestro di Don Giovanni (Crossed Swords, 1954) in which Gina stars opposite Errol Flynn. This photo is reproduced in the January 1954 issue of Screenland magazine to illustrate an article called It’s True What They Say About Gina.

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Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome)

Gina Lollobrigida in La romana

1954. Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome).

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Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome)

Gina Lollobrigida in La romana

1954. Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome).

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Gina Lollobrigida arriving at The Tivoli

Gina Lollobrigida arriving at The Tivoli

1954. Gina Lollobrigida arriving at The Tivoli. A caption on the back of the photo reads:

The Italian Film Festival opened last night at the Tivoli with the film “Neapolitan Fantasy”. Italian film stars were presented to the Queen who along with the Duke of Edinburgh and Princess Margaret attended the performance.

PS: “La Lollo” they call her in her native Italy – Gina Lollobrigida arriving at the Tivoli

But the marriage gets off to a tricky start.

1958. Gina Lollobrigida in Solomon and Sheba. Photo by Leo Fuchs.

Howard Hughes and Hollywood

And that tricky start is down to studio boss and arch-womaniser Howard Hughes. Gina catches his famously roving eye – accounts differ as to exactly how – and she’s summoned by him to Hollywood for a screen test. She asks for a pair of tickets so that Milko can go with her but she ends up setting off on her own. It’s possible that’s because he can’t get a US visa but more likely because he’d get in the way of Hughes’ seduction routine. So just the one ticket turns up. 

When she arrives Hughes sets her up in a suite at a luxurious hotel on Wilshire Boulevard and arranges an English teacher and a voice coach for her. At this point in her life she knows very little English.

And then he gets down to the real business – embarking on an affair. She’s not allowed out except in his company, of which there’s plenty on offer. Hughes arranges a series of dates, a priority being to avoid any media attention. So they end up eating at cheap diners or even, sometimes, in his car. As part of the entertainment he teaches her to swear.

She gets increasingly frustrated and desperate. After two and a half months of these goings-on and with no movie-making in sight, she agrees to sign a seven-year contract, Hughes’ condition for letting her go home. The terms of the contract all but prevent her from making a film with any other studio in the US. The get-out, such as it is, is that she can star in American films shot outside the US.

That’s handy as the Hollywood studios are beginning to take advantage of the talent and lower production costs available in Europe and particularly at Cinecittà. Beat the Devil (1953) in which she stars opposite Humphrey Bogart is shot in Italy and directed by John Huston. The following year, Gina appears on the front cover of the August 16 issue of TIME magazine

Gina Lollobrigida (pronounced low-low-bridge-id-ah) was in town to make a movie. And who is Gina? Hardly anywhere in the world today except in the U.S., could such a question be asked. In Europe she is the most famous seven syllables since “Come up and see me some time.”

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Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome)

Gina Lollobrigida in La romana

1954. Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome).

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Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome)

Gina Lollobrigida in La romana

1954. Gina Lollobrigida as Adriana Silenzi in La romana (Woman of Rome).

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Gina Lollobrigida on the set of La legge

Gina Lollobrigida on the set of La legge

1958. Gina Lollobrigida in a décolleté top on the set of La legge (The Law).

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Gina Lollobrigida filming La bellezza di Ippolita

Gina Lollobrigida filming La bellezza di Ippolita

1962. Gina Lollobrigida, uncharacteristically blonde, filming La bellezza di Ippolita (She Got What She Asked For) in Rome.

Beat the Devil is the first of a string of English-language films that propel her to megastar status in the US. Indeed such a desirable property that, in an interview quoted in The Scotsman: 

When I finally returned to America to do a film with Sinatra, Metro-Goldwyn-Mayer had to pay $75,000 to Howard Hughes. The Hollywood contracts I had were truly a dream. They gave me everything I wanted. I had approval of the cast, the director, the producer, and I got quite a significant percentage of overall earnings. When I went to do a film, I’d take my husband, my son, my nanny, my seamstress, my hairdresser, and my ‘lady-in-waiting’, a French countess who helped me perfect languages.

During the sixties, Gina stars in one movie after another, many of them romantic comedies, opposite the likes of Ernest Borgnine, Sean Connery and Bob Hope. Most of those films are both unmemorable and lucrative.

1956. Gina Lollobrigida as Esmeralda in The Hunchback of Notre Dame.

Gina Lollobrigida – anything but “the girl next door”

The emergence of Silvana Mangano, Anna Magnani, Gina Lollobrigida and Sophia Loren as major stars prompts a piece in the August 1957 issue of Photoplay magazine titled What has she got that Hollywood hasn’t?:

While there is a great shortage of female stars in Hollywood the dismal truth is that there hasn’t been a major American actress of star calibre to burst on the scene, outside of Kim Novak, since Grace Kelly. Part of the answer seems to be that all the girls who show up in Hollywood these days turn out to be a replica of the girl next door. And about as glamorous. Pigtails and jeans may turn a head or two on Main Street but they don’t cause a stampede at the box office. … In the impact of the foreign stars on the American public, Italy continues to play the biggest role.

Three years earlier, Gina’s arrival in the US was hotly anticipated in an article in the January 1954 edition of Screenland magazine – It’s true what they say about Gina:

Fortunately for 150 million Americans, particularly the masculine half of the population, this tantalizing Roman dish of potent anatomical force, already considered Europe’s Queen of Perfect Pulchritude, will be paying our shores a visit around the first of the year. Luscious new star of the Italian cinema, Gina is probably the most perfectly formed creature Europe has ogled since Aphrodite. Her challenge for the title of Number One International Pin-Up Girl is a formidable one. In the six years since this Roman tidbit was chosen Miss Italy, she has become one of Europe’s biggest box-office attractions. …

There is no question that her extraordinary appeal has also had a profound effect on some of filmdom’s outstanding connoisseurs of female attributes. Errol Flynn, who chose Gina as his leading lady in “Crossed Swords,” had this to say: “What a department store this lovely is! She has everything you could want on every floor, and plenty of overstock, too.” Humphrey Bogart, soon to be seen with Gina and Jennifer Jones in John Huston’s “Beat The Devil,” was overheard muttering these lava-soaked words: “This gal is molten ore. What an ingot! She burns me, burns me, burns me. Look at me, I’m a crisp!” And John Huston himself had this point to make: “In any serious discussion of Gina’s talent, you can’t ignore her bosom. That, my friend, is an extraordinary talent to have and to hold. In fact, every time I recall Gina to mind, I must confess that even her elbows seem to be bosoms.”

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gina lollobrigida guardian brief bio

1. A look back at the life and films of Gina Lollobrigida

A brief biography of Gina Lollobrigida illustrated by stills and video clips assembled by The Guardian.

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gina lollobrigida trapeze

2. Trapeze (1956)

Extracts from one of the movies that made Gina Lollobrigida a star in the US. The trapeze scenes are enough to make your fingertips tingle. Scroll forward to 9:30 if you want to get straight to the action.

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gina lollobrigida sheba

3. Solomon and Sheba (1959)

The original trailer for the biblical blockbuster, promising a vibrant melodrama with plenty of sexual tension and action.

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gina lollobrigida 10 movies

4. Top 10 Gina Lollobrigida Movies of All Time

Introductions to and extracts from ten of Gina Lollobrigida’s films assembled by Stream TV.

The piece goes on to recount how Gina’s male leads reacted to their first encounters with her:

When she first met Bogart and Flynn and John Huston, they did not understand her. They could not see how a woman who, when she was before a camera was a Latin volcano, could, when she was by herself, be so demure. They used to call her Lollofrigida or Lollofrigidaire. But once they found out that she was naturally shy with anyone not her husband, and was not a snob at all, everyone became good friends.

Indeed Humphrey Bogart revises his opinion and memorably observes that “She makes Marilyn Monroe look like Shirley Temple.”

The overt sexism is particularly striking given that the magazine’s readers are predominantly female. Perhaps not surprisingly, the most perceptive analysis of Gina’s appeal to her male fanbase comes from her husband:

She is every man’s ideal come to life. She is the epitome of woman, caught at that moment when her beauty and femininity are at their zenith — rich, full and ripe. Her greatest appeal is with married men. They see in her the wife incarnate, beautiful, ever-appealing, always fertile.

Gina’s second career

With the advent of the 1970s, Gina Lollobrigida’s career as a movie star is petering out and she embarks on a new life. In 1971 she and Milko divorce (they separated in 1966) and she plunges into a second career, reprising the interest in fine arts she gave up to become a star and building on what she learned during her time on sets talking to directors and cinematographers.

Perhaps her most striking achievement is to get an exclusive interview in 1972 with reclusive Cuban revolutionary and prime minister Fidel Castro. She uses this as the basis for Ritratto di Fidel, a short documentary written, directed and produced by herself.

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Gina Lollobrigida at The Prado

Gina Lollobrigida at The Prado, Madrid

1958. Gina poses in front of three Velasquez portraits of dwarfs: Juan Calabazas, Francisco Lezcano and Diego de Acedo. Photo by Leo Fuchs.

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Gina Lollobrigida at the Prado

Gina Lollobrigida at The Prado, Madrid

1958. Gina tours one of the galleries at The Prado. But who is her companion? Is he the museum director or one of the curators? Photo by Leo Fuchs.

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Gina Lollobrigida at the Prado

Gina Lollobrigida at The Prado, Madrid

1958. What would Goya have made of Gina? Here she looks admiringly at a sex symbol of a previous era, the artist's Naked Maja. Photo by Leo Fuchs.

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Gina Lollobrigida at the Prado

Gina Lollobrigida at The Prado, Madrid

1958. It looks like Gina (or someone else) has been making a copy of Titian's painting of Salome with John the Baptist's head on a plate. Photo by Leo Fuchs.

She also turns her hand to photography and sculpture. Italia Mia, published in 1973 is the first of five books of photos, while in 2003 a collection of 38 of her bronze sculptures is exhibited at a number of venues including the Pushkin Museum in Moscow.

She still has time to become a voracious collector of glitzy jewellery – opulent creations of gold and precious stones. In 2013, she auctions 23 of her Bulgari gems, worn at landmark moments during her career, at Sotheby’s in Geneva, using the proceeds to donate £3.2 million to stem cell research.

1958. Gina Lollobrigida poses in front of Hieronymus Bosch’s The Garden of Earthly Delights at the Prado. Photo by Leo Fuchs.

And then there’s the gossip and scandal surrounding her liaisons, many with much younger men. Well, we won’t go down that rabbit hole except to note Gina’s disputed marriage to Spanish businessman Javier Rigau y Rafol, 34 years her junior, whom she originally met at a party in Monte Carlo in 1984.

Want to know more about Gina Lollobrigida?

Gina Lollobrigida died on 16 January 2023 and there are plenty of excellent and informative obituaries, notably in The Guardian, The New York Times, The Los Angeles Times, The Hollywood Reporter, The Economist and The Scotsman.

For a somewhat drier account replete with sources, look no further than Wikipedia. And for a catalogue of her films, go to IMDb.

Other topics you might be interested in…

Claudia Cardinale – up for a challenge
Monica Vitti
Monica Vitti – a sad childhood, a glittering career and a bitter old age
Tazio Secchiaroli – more than a paparazzo
The paparazzi – shock horror birth of a monster

Filed Under: Films, Stars Tagged With: Cinecittà, Errol Flynn, Fidel Castro, Gina Lollobrigida, Howard Hughes, Humphrey Bogart, Javier Rigau y Rafol, John Huston, Leo Fuchs, Milko Skofic, Solomon and Sheba, Sophia Loren, The Hunchback of Notre Dame, The Most Beautiful Woman in the World

Tazio Secchiaroli – more than a paparazzo

A scene from Fellini's Satyricon
1969. A scene from Fellini’s Satyricon. Photo by Tazio Secchiaroli.

Tazio Secchiaroli is generally regarded as the most talented and daring of the paparazzi. During the 1950s, he played a key role in developing the genre of paparazzi photography.

This article touches on his early career and his exploits as a paparazzo, but it’s mainly a showcase for the stunning work he did after that, particularly with Federico Fellini and Sophia Loren.

Tazio Secchiaroli – his rise to stardom

Tazio Secchiaroli is born on 26 November 1925, in Centocelle, a working-class suburb about 10 kilometres from the centre of Rome.

As a teenager, his first job is working as a gofer at Cinecittà. But in the final years of World War II the Italian film industry is on its knees. So in 1944, age 19, Tazio Secchiaroli becomes one of the ‘scattini’ (street photographers), patrolling the train station and tourist spots for visitors to Rome and offering to do portrait shots of them.

It’s a hand-to-mouth existence, hardly more lucrative than his job at Cinecittà. Fortunately he gets to know Luciano Mellace, a photographer who works for International News Service, an American agency. In 1951, Mellace offers Secchiaroli a chance to join the agency, which the latter seizes with both hands. His new job involves assisting at shoots and helping out in the darkroom. It’s a start.

The following year, Tazio Secchiaroli moves on to VEDO, a photo agency. Its founder is an enterprising and unscrupulous photographer called Adolfo Porry-Pastorel. He’s known in the trade for the stunts he pulls to outwit his competitors – for example putting a stickers over the picture lenses of his rivals’ twin-lens cameras. Because the sticker is invisible through the viewfinder, the trick will be discovered only after the event, in the darkroom.

Gjon Mili in the studio with two models
1950. Gjon Mili in the studio with two models.

But Tazio Secchiaroli is both ambitious and restless. In 1955, he becomes his own boss, setting up Roma Press Photo agency with Sergio Spinelli, a colleague at VEDO. Spinelli does the marketing and PR, Secchiaroli takes the photos. And what photos they are! His ability to be in the right place at the right time and to grab the most telling shots is covered in the paparazzi – shock horror birth of a monster. Before long, he’s the de facto ringleader of the paparazzi and known as an urban fox – the Volpe di via Veneto.

His pursuit of Ava Gardner and Walter Chiari (actor, co-star in The Little Hut and escort) tells us all we need to know about his ruthless tactics:

One evening, we were following Ava Gardner and Chiari, who were nightclubbing around Rome. There were four of us: Elio Sorci, myself and our collaborators. We had taken pictures of the two of them going in and out of nightclubs, worthless photographs because there were so many just like them. So, later, as he was parking and she had gone to open the door to the apartment building, I told Sorci to get ready. Then I went up very close to Gardner and set off a flash in her face; she screamed and Chiari immediately rushed me. Sorci promptly started shooting and got some pictures in which it looks as if we were fighting.

Based on Tazio Secchiaroli’s reputation as leader of the pack, Federico Fellini recruits him as an advisor for La Dolce Vita. It proves to be a formative experience and a turning point in Secchiaroli’s career.

In the early sixties, perhaps recognizing that street photography is a young man’s line of work and that he is not getting any younger, Tazio Secchiaroli transitions from paparazzo to set and portrait photographer. To this end, he persuades Gjon Mili, working in Italy on an assignment for LIFE magazine, to take him on for three months as an unpaid assistant. This is his opportunity to learn about the formal photographic techniques that as a paparazzo have not really been on his agenda – things like composition, lighting and depth of field.

Tazio Secchiaroli – his work with the stars

His first assignment as a set photographer is for Federico Fellini’s follow-up to La Dolce Vita – 8½. After that Tazio Secchiaroli works on the sets of all of Fellini’s films except for Juliet of the Spirits and Orchestra Rehearsal.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Photo taken on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Photo taken on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Photo taken on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Annie Daniel on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Annie Daniel on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Photo taken on the set of Spirits of the Dead

Spirits of the Dead

1968. Monica Pardo on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Terence Stamp on the set of Spirits of the Dead

Spirits of the Dead

1968. Terence Stamp on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Terence Stamp on the set of Spirits of the Dead

Spirits of the Dead

1968. Terence Stamp on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Spirits of the Dead

Spirits of the Dead

1968. Photo taken on the set of Toby Dammit, based on a short story by Edgar Allan Poe, Federico Fellini's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Federico Fellini on the set of Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Federico Fellini on the set of Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini and Anne Tonietti on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Federico Fellini on the set of Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Federico Fellini on the set of Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

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Anne Tonietti on the set of Spirits of the Dead

Spirits of the Dead

1968. Federico Fellini and Anne Tonietti on the set of Toby Dammit, based on a short story by Edgar Allan Poe, the director's contribution to Spirits of the Dead. Photo by Tazio Secchiaroli.

Fellini is not just an employer but also a profound influence:

If it weren’t for Fellini, I might have remained a paparazzo. He opened the doors of Cinecittà to me, but more than that, he showed me things I never would have understood on my own. Watching him, I learned to see the world in a disenchanted and slightly amused way. It was as if I had taken a load off my shoulders, or rather, off my brain.

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Ursula Andress preparing for a scene from The 10th Victim

The 10th Victim

1965. Ursula Andress preparing for a scene in Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

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Ursula Andress in a scene from The 10th Victim

The 10th Victim

1965. Ursula Andress as Caroline Meredith in a scene from Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

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Ursula Andress in a scene from The 10th Victim

The 10th Victim

1965. Ursula Andress as Caroline Meredith in a scene from Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

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Elsa Martinelli as Olga in The 10th Victim

The 10th Victim

1965. Elsa Martinelli as Olga in Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

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Marcello Mastroianni and Ursula Andress in a scene from The 10th Victim

The 10th Victim

1965. Marcello Mastroianni and Ursula Andress in a scene from Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

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Marcello Mastroianni and Ursula Andress filming a scene for The 10th Victim

The 10th Victim

1965. Marcello Mastroianni and Ursula Andress filming a scene for Elio Petri's sci-fi fashion thriller, The 10th Victim. Photo by Tazio Secchiaroli.

Tazio Secchiaroli also works with other directors including Pier Paolo Pasolini, Michelangelo Antonioni and Elio Petri (only two of the photos here from The 10th Victim have the photographer’s stamp; the others are attributed to him).

As portrait photographer to the stars, his most notable collaboration is with Sophia Loren, which lasts 20 years. In her autobiography, Yesterday, Today, Tomorrow: My Life, she writes:

I trusted Tazio Secchiaroli – my invaluable photographer – with my life. He was completely free to do as he pleased because I was sure he’d do the right thing. Marcello [Mastroianni] was a friend of his and had recommended him to me, and I’d gotten along with him right from the start. Fellini adored him as well, and they often worked together. He’d been the first to immortalize the nightlife of via Veneto, inspired not just the character of the paparazzo in La Dolce Vita, but by the whole atmosphere of the movie. He became like family to me, accompanying me all over the world, from set to set, and from event to event.

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Sophia Loren being photographed

Sophia Loren being photographed

1967. Sophia Loren being photographed. Photo by Tazio Secchiaroli.

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Sophia Loren in Ghosts, Italian Style

Sophia Loren in Ghosts, Italian Style

1967. Sophia Loren as Maria Lojacono in Ghosts, Italian Style. Photo by Tazio Secchiaroli.

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Sophia Loren in Ghosts, Italian Style

Sophia Loren in Ghosts, Italian Style

1967. Sophia Loren as Maria Lojacono in Ghosts, Italian Style. Photo by Tazio Secchiaroli.

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Sophia Loren at a garden party

Sophia Loren at a garden party

Around 1970. Sophia Loren at a garden party. Photo by Tazio Secchiaroli.

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Sophia Loren hugging a friend

Sophia Loren hugging a friend

1967. Sophia Loren hugging a friend. Photo by Tazio Secchiaroli.

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Sophia Loren in Man of La Mancha

Sophia Loren in Man of La Mancha

1972. Sophia Loren as Dulcinea in Man of La Mancha. Photo by Tazio Secchiaroli.

Elsewhere she rhapsodizes about his talent and professionalism:

Beneath an apparently cold and inattentive expression, Tazio has the instinct and controlled aggressiveness of the true photographer, one who will take a hundred or even a thousand shots until he is sure that he has got exactly the one he was looking for. Above all, Tazio has one great talent: he never pesters you, he will not confuse you with suggestions, he never tries out sterile experiments. Like a good hunting dog (I hope Tazio will forgive the analogy, but I do love dogs), he does not run or jump without reason. With all his senses on the alert, he waits patiently for the precise instant, however fleeting it may be, to seize the picture and freeze it forever on his film.

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Sophia Loren and Carlo Ponti outdoors

Sophia Loren and Carlo Ponti outdoors

1967. Sophia Loren and Carlo Ponti outdoors. Photo by Tazio Secchiaroli.

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Sophia Loren and Carlo Ponti relaxing on a sofa

Sophia Loren and Carlo Ponti relaxing on a sofa

1967. Sophia Loren and Carlo Ponti relaxing on a sofa. Photo by Tazio Secchiaroli.

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Sophia Loren in an exotic garden

Sophia Loren in an exotic garden

1967. Sophia Loren in an exotic garden. Photo by Tazio Secchiaroli.

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Sophia Loren in Ghosts, Italian Style

Sophia Loren in Ghosts, Italian Style

1967. Sophia Loren as Maria Lojacono in Ghosts, Italian Style. Photo by Tazio Secchiaroli.

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Sophia Loren in Ghosts, Italian Style

Sophia Loren in Ghosts, Italian Style

1967. Sophia Loren as Maria Lojacono in Ghosts, Italian Style. Photo by Tazio Secchiaroli.

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Sophia Loren in Ghosts, Italian Style

Sophia Loren in Ghosts, Italian Style

1967. Sophia Loren as Maria Lojacono in Ghosts, Italian Style. Photo by Tazio Secchiaroli.

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Charlie Chaplin, Sophia Loren and Marlon Brando on the set of A Countess from Hong Kong

On the set of A Countess from Hong Kong

1967. Charlie Chaplin with Sophia Loren and Marlon Brando on the set of A Countess from Hong Kong. Photo by Tazio Secchiaroli.

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Sophia Loren filming More Than a Miracle

Sophia Loren filming More Than a Miracle

1967. Sophia Loren filming More Than a Miracle. Photo by Tazio Secchiaroli.

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Sophia Loren and Marcello Mastroianni in Marriage Italian-Style

Sophia Loren and Marcello Mastroianni in Marriage Italian-Style

1964. Sophia Loren and Marcello Mastroianni in Marriage Italian-Style. Photo by Tazio Secchiaroli.

And the admiration and affection is reciprocated by Tazio Secchiaroli:

With la Loren, I really understood what light is. Few people have as good a sense as she does of this basic, incorporeal thing. But that’s not all. La Loren is one of the greatest people I have ever known. Beneath the diva is a simple, generous woman who, out of her great sense of fairness, detests cynicism, slyness, and arrogance.

Tazio Secchiaroli will carry on working on film sets and portraits until 1983:

Because photography, like any art, requires a great deal of energy. In 1983, I felt that this energy was exhausted. So I decided to quit.

Want to know more about Tazio Secchiaroli?

Diego Mormorio’s monograph, Tazio Secchiaroli – the greatest of the paparazzi, authoritatively written and beautifully illustrated, is a must-read. Online, the first place to go is Flashgun warrior by Gaby Wood, published in the 17 July 1999 issue of The Guardian. Apart from Wikipedia and, for a selection of Tazio Secchiaroli’s photographs, The Red List, other sources include:

  • Tazio Secchiaroli’s website (written in Italian).
  • The New York Times obituary, written by Sarah Boxer – Tazio Secchiaroli, the Model for ‘Paparazzo,’ Dies at 73.
  • An article in The Herald – We got even, says the original paparazzo.

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Filed Under: Films, Photographers, Stars Tagged With: Carlo Ponti, Federico Fellini, Fellini's Satyricon, Gjon Mili, Sophia Loren, Spirits of the Dead, Tazio Secchiaroli, The 10th Victim

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