With a career spanning gracefully across six decades and many different genres, Stefania Sandrelli is a polyhedric, seductive figure of Italian cinema. A resurging interest in the actress’ persona has led popular opinion to reconsider her success and filmography, perhaps after the awarding of the Leone d’oro for Lifetime Achievement at the 62nd Venice International Film Festival. Frequently dubbed the “Italian diva” par excellence, Stefania Sandrelli is often considered, if not confined, within the limitations of her “iconicity”: one of the dignified starts of the Italian Golden Age, synonym with an idea of elegance and sensuality that belongs to the past, receptacle of that sense of nostalgia for the postwar boom. Too often reduced to her mere bodily presence, Sandrelli is a dynamic actress who has collaborated with the most prominent figures of Italian and international cinema, lending her charm to countless characters, ranging from comedy to melodrama.
At times referred to as the “Lolita” of Italian cinema in the press, Stefania Sandrelli was projected into stardom at the age of 15 with the cult comedy Divorzio all’Italiana (1961), where she starred next to Marcello Mastroianni under the direction of Pietro Germi. Sandrelli’s career was built on the assumption of her natural talent, and her predisposition to so-called received acting. Leaning into the oxymoronic concept of a young, naïve yet malicious girl, received acting refers to a young actress’ capacity to absorb her director’s guidance – effectively being “conducted”, “molded” by the director. Sandrelli’s career was pushed forward by her confident sensuality on screen, a sensuality only apparently masked behind a layer of ingenuity. With the passing of time, she established herself as the face of the commedia all’italiana, starring in titles such as Sedotta e abbandonata (1964), Alfredo Alfredo (1972), C’eravamo tanto amati (1974). Sandrelli expanded her career horizons, exploring the territory of melodrama and erotic drama with defining performances on Novecento (1976, Bernardo Bertolucci), La chiave (1983, Tinto Brass), Mignon è partita (1989), Jamón jamón (1992, Bigas Luna), before venturing into the realm of Italian television dramas.
Although Sandrelli rose to fame due to her sensual appearance – the provocative “girl next door” – her success across the decades is due to much more than just her Mediterranean traits. To understand better Sandrelli’s charm and allure, perhaps it is worth returning to the very first film that launched her into stardom, looking closely at the well-remembered scene on the beach in Divorzio all’Italiana. The brief encounter between Fefè (Marcello Mastroianni) and Angela (Sandrelli) on the beach, encapsulates the actress’ seducing, despite humble, essence. Fefè leaves his wife behind on the beach, to go find Angela hidden amongst the thick branches of a clearing. Sitting on the grass, an evanescent figure out of a bucolic fantasy, Sandrelli’s character is busy picking flowers. As Fefè throws himself on her, the camera takes in fully her pale complexion to capture a quick succession of expressions in Angela’s face: as the man bends over to inhale the smell of fresh flowers, she tilts her head back and bites her lips softly; then, her eyes lit up in the sweetest, most innocent of smiles. The naturalness of this gesture is heart-throbbing, and at the same time requires that self-control and precision one may find only in Sandrelli’s acting style.
At the age of 76, Stefania Sandrelli still possess the charm, the graciousness, and the appeal as always. Premiering in the UK this January, Corrado Ceron’s feature debut Acqua e anice stars Sandrelli in a “dance hall road movie” centered on female camaraderie, aging femininity, and self-discovery. Adopting the trope of the journey, Acqua e anice is a film that explores movement, transition and the capacity to adapt to change, perfectly reflecting the multi-faceted career of an erratic figure of the calibre of Stefania Sandrelli.
Gulia Tronconi
Content Specialist