Maria Roasio

Italian actress Maria Roasio (?-?) appeared as a star of the Italian silent cinema of the late 1910s and early 1920s, in particular at the Ambrosio studio. But very little was known about her, so we decided to research her films. And yes, Ivo Blom also dug up some new information on her life.


Italian postcard by Edizioni A. Traldi, Milano, no. 327. Photo: Fontana.


Italian postcard by Ed. A. Traldi, Milano, no. 634. Photo: Pinto, Roma.


Italian postcard by Ed. A. Traldi, Milano, no. 635. Photo: Pinto, Roma.

Fresh and natural acting

Little is known about Maria Roasio, one of the minor Italian divas who starred for Ambrosio in several Italian silent films during the late 1910s and early 1920s. There are also quite a few postcards of her with beautiful portraits by photographers like Fontana and Pinto. But there is no Wikipedia page about her. And IMDb only mentions that she was born in Milan, but does not offer her birth year nor where or when she died. Furthermore is only known that she had a sister, Fernanda, who also acted in Italian silent cinema in the early 1920s. So we checked out Vittorio Martinelli's series of studies on the Italian silent cinema, 'Il Cinema Muto Italiano', for her films.

Maria Roasio made her film debut in Febo Mari’s Attila (1918) with the director himself in the title role. The historical epic was produced by the Turin-based Ambrosio studio. Roasio played Onoria, a young Roman woman who is given to Attila because he spared Rome from destruction. But she kills him on their wedding night. The film premiered in Italy in February 1918, during the First World War. Pier da Castello drew in the Italian magazine La vita cinematografica a comparison between Attila the Hun and Emperor Wilhelm II, who was considered the culprit of the First World War and its massive slaughter. Da Castello indicated that Mari’s film appealed to the call of the government to make patriotic films. These must show audiences why the bloodshed was necessary. He forgave Mari’s ‘playing’ with history. The British magazine Bioscope showed the same permissiveness in their 1918 review of Attila, justifying Mari’s spectacle but also its ideological warning against ‘barbarians’ then and now. Bioscope also praised the beauty of the two leading actresses, newcomer Roasio and Ileana Leonidoff, as the sensual Bulgarian dancer Ildico – who, according to Bioscope, had been the real assassin of Attila.

From that moment on, Roasio became producer Arturo Ambrosio’s star performer. Rumour is that she also became his mistress. In La cantoniera n. 13 / Roadhouse no. 13 (Luigi Maggi, 1919), she played an ex-circus girl who becomes a signalman and prevents a train crash. One of the survivors is a sculptor, who takes her to the city, where she starts to blossom, causing the jealousy of the sculptor’s lover. In Champagne Caprice (Achille Consalvi, 1919), the script was quite silly – about an orphan girl who proves to be a princess's daughter and is abducted by a rich gypsy violin player who proves to be her father. The Italian press nevertheless praised the fresh and natural acting by Roasio, so contrasting with the Italian divas.

Less fortunate was La Gibigianna (Luigi Maggi, 1919), in which all actors, excluding the star Lucy Di San Germano, were considered artificial and grotesque. Roasio played a supporting part in the film. Also Zavorra umana / Human Ballast (Gustavo Zaremba de Jaracewsky, 1919), in which Roasio had the female lead opposite René Maupré, was condemned by the press because of its banal script and unfitting action scenes. Cuor di ferro e cuor d’oro / Heart of Iron and Heart of Gold (Luigi Maggi, Dante Capelli, 1919) was a classic sentimental story about two aristocratic families reconciling because of the love between two members of their families (Roasio and Angelo Vianello). In La farfalla della morte / The Butterfly of Death (F.G. Viancini, Arturo Ambrosio Jr., 1920), Roasio is the rich bride of an entomologist who owns a poisonous exotic butterfly. Under the spell of an adventuress, her husband humiliates her in the presence of his lover. The wife tries to commit suicide with the butterfly, but her sister saves the situation.

In Sillabe ardenti / Burning Syllables (Achille Consalvi, 1920), an ex-prostitute marries and has a child, but her husband is informed about her past. When she swears on the head of her gravely ill child that he may die if she betrays her husband, the child seems to die for real, but resuscitates, of course. In the social drama Gens nova (Luigi Maggi, 1920), an aristocratic family unites with that of a farmer. After conflicts because of the pride and stiffness of the aristocracy and feelings of revolt and revenge by the farmers, the story ends with weddings and the message that nobility of labour counts more than aristocracy of the blood. The topic was quite sensitive for 1919, a year full of political upheaval in Italy, so e.g. a scene with stones thrown through the window of the count’s villa was eliminated. In another social drama, Terra / Earth (Eugenio Testa, 1920), a poor farmer’s family moves to town in the hope of better gain, but misery strikes them, and the family falls apart. The protagonist, Viola (Roasio), is the only one to return to the countryside. The press was split: some thought it unfit for the cinema and wooden, others called it a genuine social drama, while one source remarked the film had been made quite incomprehensible because of the heavy cuts by the censor.


Italian postcard for Attila / Attila, the Scourge of God (Febo Mari 1918), with Febo Mari in the title role. Caption: Young Onoria (Maria Roasio) incites the people of Aquileia to resist Attila. Indeed in the film, she corrects the pope who wants just peace, but she incites the populace to resist and fight back, if necessary even with the rocks of their ruins.


Italian postcard by G.B. Falci, Milano, no. 239.


Italian postcard.

Ideology in silent film

In 1921, Maria Roasio continued to act in social dramas such as Angeli e demoni / Angels and Demons (Luigi Maggi, 1921), a miner’s drama about the daughter of an old miner (the angel) and an aggressive head of the miners (the demon). The film was praised for Roasio’s acting but also for the genuine images of the work in the mines. The topic, which also dealt with strikes, requests for salary raises, accidents at work and cruel industrial conditions, alarmed the censors. The whole part of a propagandist had to be eliminated from the film, plus a scene in which a miner was seen hurt by an explosion in the mines. Roasio also played that year in Il castello dei gufi / The Castle of the Owls (Max Sullivan, 1921), scripted by the future film director Augusto Genina and by Aldo De Benedetti. The story deals with a Russian scientist (Gustavo Serena), who lives in the castle of the owls. There he keeps his niece Maria, supposedly mad, but the man is mad himself. A young, courageous man liberates the girl and punishes the uncle.

Apart from a minor film, Il palazzo dei sogni / The Palace of Dreams (Alessandro Rosenfeld, 1921), released in Italy only in 1923. Roasio’s main film of 1921 was Mara West (Arturo Rosenfeld, 1921), written by Fantasio (Riccardo Artuffo). It is the by-now well-known ideology in silent cinema and beyond that women cannot have a career and a happy married life as well. Young Maria leaves home and becomes the acclaimed actress Mara West. A young actor helps her. They fall in love and have a child. When at the apex of her success, the man leaves the theatre and her, returning to a normal life. He meets Mara’s sister and marries her, while broken-hearted Mara continues her career. The press praised the script, realising it was a well-known plot, but played out with convincing emotionality. In particular, the press praised the scene in which Mara looks out and oversees the dawn of the city, with all the artificial light going out in the centre, connecting this to the end of her own relationship.

For the drama La rondine / The Swallow (1921-1922), she worked under the direction of Gabriellino D’Annunzio, the son of the famous poet Gabriele D’Annunzio and Duchess Maria Hardouin di Gallese. The film, again scripted by Fantasio, is about a girl who resembles a swallow and who warms the hearts of an old prince and three grandsons living in a cold and boring castle. In 1922, Roasio made an unsuccessful attempt to found her own studio, the company Star Film. It resulted in only one film, Manolita (Guido di Sandro, 1923), for which the press praised the setting and Roasio’s acting. The plot resembled that of Sillabe ardenti: a poor girl haunted by her dark past is on the verge of being kicked out by her husband. Their little son and this time also the man’s mother provide a reconciliation. In 1923, Roasio played in Notte di tempesta / Stormy Night (Riccardo Cassano, 1923), shot in Sardinia. Il trittico di Bonnard / Bonnard's Triptych (Mario Bonnard, 1924) was a triptych in which Roasio played in A morte / A Death, the first part set in the Middle Ages. The press praised the film for its structure – it was the first Italian episode film without a clear thread uniting the different stories. Critics appreciated the upcoming child actor Marcella Sabattini and Rina De Liguoro in the second and third episode.

In 1924, Roasio produced and starred in La bambola vivente / The Living Doll (Luigi Maggi, 1924), a film designed to establish Roasio as a star and launch a Maria Roasio film series. The press accused La bambola vivente of plagiarism, specifically of the German film Die Puppe / The Doll (1919) by Ernst Lubitsch. Her dream to become a producer was now over for good. In 1927, she made a last attempt to revamp her career in I rifuti del Tevere / The Wasted of the Tiber (G. Orlando Vassallo, 1927), in which Roasio starred with Raimondo van Riel, Franz Sala and Augusto Bandini. The title hinted at a popular section in the newspaper Il Tevere on Rome’s criminality. According to the press, the film was quite successful, even if not in the range of the Kolossal films. But Maria Roasio disappeared from the screen. What happened to her?

At the genealogy site Ancestry, Ivo Blom found her full name, Maria Margherita Francesca Roasio. She was born on 7 October 1899. This is plausible, because she was about 20 when she made her film debut in Attila (Febo Mari, 1919). Her parents were Giuseppe Roasio and Marcella Allare, and she was baptised in Turin on 11 October 1899. Ivo also found an Italian article by Sandro Galantini on GiulianovaNews, a site about the Italian coastal town in the province of Teramo, in the Abruzzo region. Galantini writes that Maria Roasio came from a family in Piedmont but was born in Nice (so not Milan, but why was she baptised in Turin?). He explains why Roasio stopped her film career. In 1927, she married Vincenzo Trifoni (1901–1985), the son of a wealthy landowner from Colleranesco and a prominent racing driver. When he went to Libya, then an Italian colony, to set up an agricultural business together with his business partner Domenico Catitti, Roasio followed him. The business was a success. Galantini also adds that Maria Roasio died in 1982 and was interred in the Trifoni family chapel at Giulianova cemetery.


Italian postcard by La Rotofotografica. Photo: Ambrosio-Film.


Italian postcard, no. 325. Photo: Fontana.


Italian postcard by Edizioni A. Traldi, Milano, no. 326. Photo: Fontana.


American Photocine-postcard by A.G.F.

Sources: Vittorio Martinelli (Il cinema muto italiano, 1918, 1919, 1920, 1921-1922, 1923-1931), Sandro Galantini (GiulianovaNews - Italian), Ancestry, Alberto Friedemann (Imprenditoria femminile nel cinema torinese), and IMDb.

The Winter Gardens in Morecambe

The Winter Gardens is a historic seaside venue in Morecambe, Englandn. This magnificent theatre and cinema closed to the public in 1977. That same year, it was listed as one of the area's most significant features, as the main example of the remnants of the resort's nineteenth-century entertainment buildings. A campaign for its restoration began in 1986. We contributed a bit to the crowdfunding for the restoration and visited the Winter Gardens last year. Professor Vanessa Toulmin, Chair of Morecambe Winter Gardens Preservation Trust, gave us a special tour. Here are some old and new postcards plus snapshots we took in 2025. Our congratulations to Professor Vanessa and to all the volunteers and others who helped to bring this magical place back to its former glory.


British postcard. Photo: Paul White. Caption: Morecambe Winter Gardens Theatre, Grade 2* listed, built in 1897 and currently under restoration.


British postcard by The Lancaster Paper Co. Ltd., Lancaster, no. M.0603. Photo: Dennis Productions. Caption: Beach & Winter Gardens, Morecambe.


British multi-view postcard. Captions: Central Morecambe. Band Stand. Central Promenade. Shelter and Pier. Winter Gardens and Promenade. Clock Tower and Pier.


British postcard by Morris & Co., Liverpool. Caption: Promenade and Winter Gardens, Morecambe. This postcard was sent by mail in 1914.


British postcard. Caption: Cenotaph and Promenade, Morecambe.


British postcard by Sanderson & Dixon (S & D), Ambleside, no. S.717. Caption: Winter Gardens, Morecambe.

A one-of-a-kind music hall

The Winter Gardens is a Grade II-listed building of a rare type – a big music hall. It is now thought to be one of a kind. It was built in 1897 to the designs of Magnall & Littlewood from Manchester. The Manchester-based practice had already designed the Morecambe West End Pier and Pavilion in 1895-1896, and was then working on the Central Pier Pavilion and the Hotel Metropole at the same time as the new music hall. The venue was originally built as the Victoria Pavilion Concert Hall and Variety Theatre in 1897 and opened on Monday, 19 July 1897. It was an extension to the 1878 Winter Gardens complex, which included an aquarium, gallery, dance hall, three restaurants and a fernery. This complex was built by the Morecambe Baths and Winter Gardens Company, which was founded in 1876 by business people from Bradford to provide bathing facilities and all-weather gardens for visitors. The competitor resorts of Southport and Blackpool already had Winter Gardens. The new Victoria Pavilion Theatre was built next to the original complex, which has since been demolished.

Prominently sited on the seafront, The Winter Gardens is one of Morecambe's most significant features. It is one of the last major reminders of the extensive range of all-weather entertainment that was provided in Victorian and Edwardian Morecambe for the many visitors to the resort. The piers and early cinemas and theatres of that era have mostly succumbed to fire, storms, redevelopment or changing tastes. The main elevation of the Winter Gardens is an ornate, symmetrical composition in red brick and terracotta. There is a glass canopy along the front – a 1997 replacement for the 1909 original – protecting retail units on each side of the main entrance. The foyer and stair hall are richly decorated with the original Italian terrazzo floors, tiles by Burmantoft, elaborate plasterwork and painted and gilded ceilings. Beyond, a curving promenade with timber and glazed screens leads to an impressive auditorium. This wide and elaborately decorated hall is over sailed by a spectacular tunnel vaulted ceiling. There are two levels of balconies with seating. The extraordinarily lavish interior design was overseen by Dean & Co of Birmingham, who worked extensively with Magnall & Littlewood on both the Morecambe and Blackpool Winter Gardens.

The Morecambe Winter Gardens had its heyday in the 1930s and 1940s. In the 1950s, the theatre annex cinema was taken over by Moss Empires. However, declining profits in the following decades led to its closure in 1977. Although the theatre building that remains today was listed the same year, the ballroom building was demolished in 1982. In 1986, volunteers started a campaign for the restoration of the Winter Gardens. The Friends of the Winter Gardens were formed to represent the interests of the building, and they campaigned for its preservation and restoration.

In 2006, the Friends formed a charitable trust company, The Morecambe Winter Gardens Preservation Trust Ltd (MWGPT), to purchase the Winter Gardens. In 2008, the Winter Gardens were listed as one of the area's most significant features, as the main example of the remnants of the resort's nineteenth-century entertainment buildings, as part of an appraisal of the Morecambe Conservation Area. The building is now operated by the MWGPT, which, alongside help from local volunteers, has been slowly restoring the theatre and bringing it back into use.

Since 2020, the MWGPT, under new governance and leadership, has built on the work of the previous administration and made even greater progress. In October 2021, the building was one of 142 sites across England to receive part of a £35 million injection into the government's Culture Recovery Fund. In March 2023, it received a further £2.8 million from the Cultural Investment Fund. The trust volunteers were collectively awarded the King's Award for Voluntary Service in November 2023. The ambition is to completely restore the building as a 2,300-capacity music venue. The volunteers are led by their chairwoman, Professor Vanessa Toulmin, who has researched and written extensively about working-class culture and Fairgrounds. Her family once had the fairground behind the Winter Gardens.


British postcard by Fine Lines Art. Design: Myra Weir. Caption: The Winter Gardens, Morecambe.


British postcard. Caption: Interior of the original Winter Gardens Ballroom, ca. 1950s, in the main complex and demolished in 1982.


British postcard. Photo: Alun Bull, Historic England. Caption: Burmantoft-designed entrance, Morecambe Winter Gardens.


British postcard. Photo: Paul White. Original Winter Gardens Theatre Box Offices in the Foyer, restored by the volunteers from 2020 onwards.


British postcard. Photo: Paul White. Caption: Ceramic Entrance Floor to Morecambe Winter Gardens Theatre, designed by Campbell Tile Company (1897), restored by Rieveley Ceramics in 2024.


British postcard. Photo: Paul White. Caption: Winter Gardens Staircase to the Circle and Gods after restoration on both the plaster ceiling and ceramic features.


British postcard. Photo: Damien Rose. Caption: Morecambe Winter Gardens 'The Gods'.

Boom years with celebrities

The Morecambe Winter Gardens on Marine Drive Central opened as a music hall and was designed by Mangnall & Littlewood, who also built the Empress Ballroom and Second Opera House in Blackpool, in consultation with the renowned Theatre Architect Frank Matcham. It consisted of the theatre, ballroom, restaurants and gardens at the rear. Originally called the Victoria Pavilion and Oriental Ballroom, the Winter Gardens music hall was opened to the public in 1897. One of its main features was a 118-foot roof span, which was considered the largest in the world for a place of entertainment. It was not just the roof span that could boast a claim; the stage was larger than any of its London contemporaries.

In 1898 it was rebuilt internally for £100,000, adding an upper circle and bringing the total seating capacity to 2200. Following the death of Queen Victoria in 1901, the Victoria Pavilion and Oriental Ballroom were renamed the King's Pavilion and Empress Ballroom. These two buildings widened the range of entertainment that the site provided at its key position on the Promenade. The original capacity of the two buildings was in excess of 6,000 people, with the Winter Gardens Theatre now capable of holding 2,500.

From 1897 onwards it played host to large musical concerts including the Halle Orchestra, the Morecambe International Festival – including Elgar in 1903 to 1905 – and stars of stage and screen. After a slump that saw the owners go into liquidation, the building was eventually purchased by WH Broadhead and Sons’ Variety Circuit, owners of many Northern theatres at the time. More building and renovation work saw the addition of a further balcony in 1909. The Winter Gardens remained under Broadhead’s control until 1933 when it was purchased by a group of businessmen for £24,000.

After large-scale renovations, it reopened in 1934 and slowly grew to be one of the most important theatres in the country. Many acts were to be seen there even before they appeared in London. The 1930s and 1940s were its boom years, with celebrities including George Formby, Gracie Fields, and Laurel and Hardy treading the boards. Vera Lynn, Max Wall, Beryl Reid and Frankie Howerd all performed there, as did Morecambe & Wise and many other variety acts. Later, the Who and the Rolling Stones gave concerts at the Winter Gardens.

In 1953 the Moss Empire took controlling interest, and again renovation work was carried out on the already impressive interior. In 1959, the film The Entertainer (Tony Richardson, 1960) starring Laurence Olivier as Archie Rice, an old-time British music hall performer, was filmed in and around Morecambe. The final scenes were shot on the stage of the Winter Gardens. After Moss leased the theatre to Entam, the entertainment division of Trust House Forte in 1968, the ballroom was converted into Dixieland Palace Show bar and The Coral Reef Bar. The theatre remained intact, operating regular shows up until 1977 when its operating licence expired. For years before, there had been little maintenance to both inside and outside of the building, and a damming report was the final nail in the coffin. In its heyday, the Winter Gardens was a sparkling example of the entertainment venues that were the essence of English seaside towns, and now a new chapter begins.


Morecambe Winter Gardens, Morecambe, England, 2025. Photo: Paul van Yperen.


The Winter Gardens, Morecambe, England, 2025. Photo: Paul van Yperen.


The fully restored inlaid stone floor of the entrance. The Winter Gardens, Morecambe, England, 2025. Photo: Paul van Yperen.


Poster for Morecambe Winter Gardens. Exhibition In the Spotlight: a history of black performers in Morecambe, Maritime Museum, Lancaster, 2025. Photo: Paul van Yperen.


British postcard in the Picturegoer Series, London, no. 978. Photo: Cannons. American-born singer Elisabeth Welch (1904-2003) made several memorable guest appearances in cabaret sequences in British films of the 1930s and 1940s. She starred opposite Paul Robeson in two features. She was one of the black performers who performed in the Winter Gardens.


Photo of an old Morecambe Winter Gardens poster, probably early 1910s. Exhibition In the Spotlight: a history of black performers in Morecambe, Maritime Museum, Lancaster, 2025. The three-reeler film Robinson Crusoe announced here perhaps refers to the 1913 American Bison film production by Otis Turner, starring Robert Z. Leonard. Photo: Ivo Blom.


Reproduction of an old photo of the auditorium at the Morecambe Winter Gardens. Exhibition In the Spotlight: a history of black performers in Morecambe, Maritime Museum, Lancaster, 2025. Photo: Ivo Blom


British postcard. Photo: Hamilton Kaye Collection. National Fairground Archive. University of Sheffield Library. Caption: 'Hamilton Kaye'. Hamilton Kaye (1921-2006) was known for magic shows and for his magic business. He also used other performing names such as Wizard Kaye, Ron Dalmo and briefly as Milton Kaye.


British postcard by The Badger Press, Westbury, Wiltshire, Ref. M.7. Photo: John Coleman. Programme of the Winter Gardens in Morecambe, Great Britain, of 1955, 31 October 1955. Main attraction was the Australian illusionist The Great Levante and his magical "How's Tricks". Caption: Third World Tour. A Bombshell of Bewilderment. Tons of Illusions. 20 Highly Skilled Assistants. Singers, Dancers, Comedians and Novelty Acts. Two Hours without a Blush, A Real Family Show. This and 1000 Other Surprises.


British poster postcard by Ribble Bus Company. Caption: Morecambe for top-line entertainment. Caption: Ribble Bus Company Advertising Poster for Morecambe with a Spanish flavour, reflecting the growing competition faced by Morecambe in the early 1960s onwards.

Sources: Morecambe and Wise, Arthur Lloyd, Mike Higginbottom, Interesting Times, University of Sheffield, National Fairground and Circus Archive, Theatre Trust, Visit Lancashire, Morecambe Winter Gardens, IMDb and Wikipedia.

Rita Pavone

Italian singer Rita Pavone (1945) was one of the biggest teenage stars in Europe during the 1960s, and one of the few Italian pop stars to gain a foothold in the American market. Pavone also starred in six Musicarellos and other films. She sold more than 50 million records worldwide, in seven different languages.


Spanish postcard by Postal Oscarcolor. Photo: RCA.


German postcard by Krüger, no. 902/380. Photo: Teldec / Winkler / RCA.


Italian postcard. Photo: RCA.


West German promotion card by Polydor. Photo: Polydor.


French promotion card by RCA.

New teen sounds

Rita Pavone was born in Turin, in the region of Piedmont, in 1945. Mark Deming at AllMusic: “Her father, who worked at a Fiat auto plant, was a big fan of American musical stars, particularly Al Jolson, Judy Garland, and Gene Kelly, and young Rita shared his tastes, often singing along with his records and taking singing lessons when she wasn't busy with school or her part-time job ironing shirts. In 1959, Rita made her public debut as a singer, impersonating Al Jolson in a children's talent contest.

By this time, rock & roll had made its way to the continent, and she became an immediate fan of the new teenage sounds. In 1960, Pavone landed her first professional gig, performing for soldiers at Italian NATO bases, and after initial attempts to score a record deal or nightclub engagement proved fruitless, Pavone got her big break in the fall of 1962." She participated in the first Festa degli Sconosciuti (Festival of the Unknowns), a song competition for amateur artists. She won the contest, which was organised by singer and record producer Teddy Reno.

The two fell in love. Rita was 17, and Teddy was 19 years her senior and already married, and the father of a baby boy. However, they would always stay together. Her first single, 'La partita di pallone' (The Ball Game), was an immediate smash. It sold over one million copies and was awarded a gold disc. Her album debut, simply titled 'Rita Pavone', made her a national star, and international attention soon followed.

Her recording of 'Cuore' (Heart) also sold a million copies in 1963, spending nine weeks at number one in Italy. In the summer of 1964, she had chart success in the United States with 'Remember Me', backed with 'Just Once More'. Pavone sang at Carnegie Hall in New York City, and between 1964 and 1970, she was a frequent guest at the Ed Sullivan Show, the most popular variety show on American television. Pavone was also very successful in Europe. In the UK, RCA Victor issued two of her singles in quick succession in 1966 and 1967. Both were hits, 'Heart' peaking at #27 and 'You Only You' peaking at #21 in the UK Singles Chart.

During this same period, she appeared at the London Palladium. Spain would prove to be one of her biggest markets. In this country, she scored a string of hits, both with ballads and rock songs and became a teen idol. Pavone recorded a total of thirteen albums. She mainly recorded for RCA until 1968, then she signed for a brief period with Ricordi, which launched her vanity label, RitaLand. Eventually, she returned to the label that had launched her, recording three more albums with RCA.


Dutch postcard by Muziek Parade, Hilversum, no. 6137.


German postcard by Filmbilder-Vertrieb Ernst Freihoff, Essen, no. 840. Retail price: 10 Pfg. Photo: Lothar Winkler.


Italian postcard by Rotalfoto, Milano, no. 1034. Collection: Marlene Pilaete.


Romanian calendar card by Casa Filmui Acin. Collection: Alina Deaconu.


West German postcard in the Kolibri series by Friedr. W. Sander, Verlag, Minden, no. 1956. Photo: Teldec / Peter Büchmann. Caption: Rita Pavone sings on RCA records.

Musicarellos

In Italy, Rita Pavone also worked as an actress, and during the 1960s, she starred in six films. The first was the French comedy Clémentine Chérie (Pierre Chevalier, 1963), featuring France Anglade. The others were the Musicarellos (Italian teen musicals of 1950s and 1960s) Rita, la figlia Americana / Rita, the American daughter (Piero Vivarelli, 1965) with Totò, Rita la zanzara / Rita the Mosquito (Lina Wertmüller, 1966) with Giancarlo Giannini, Non stuzzicate la zanzara / Don't Sting the Mosquito (Lina Wertmüller, 1967) with Giulietta Masina as Rita’s mother, the musical Western Little Rita nel west / Rita of the West (Ferdinando Baldi, 1967) with Terence Hill, and La Feldmarescialla / The Crazy Kids of the War (Steno, 1968).

In the two Zanzara films, directed by Lina Wertmüller, 'Little Rita' played a music student in love with her professor, who, unknown to her, is living a double life as a rock & roll singer. With Wertmüller, she also made Giornalino di Gianburrasca / Gian Burrasca's Diary (1964-1965). For this TV series, she also contributed several songs. Pavone’s film career targeted a teen audience and lacked great artistic value, but today her films are cult favourites in Italy.

In 1968, Pavone finally married Teddy Reno in a church in Lugano, Switzerland. This event caused a scandal because Reno was still married to his first wife, Livia Protti, and in Italy, there was no divorce law until 1970. They remarried each other in Italy in 1971. Later on, she would participate in comedy films, such as 2 sul pianerottolo / Two on the landing (Mario Amendola, 1975). On TV, she participated in shows such as Alta Pressione (High Pressure) (1967), Stasera Rita (Tonight Rita) and the variety series Studio Uno (1968).

In 1982, she appeared in Come Alice (Like Alice), which became a hit on Italian television. In the theatre, she played Maria in a celebrated production of William Shakespeare's 'Twelfth Night'. And her songs are on many film soundtracks. The main character in the Argentine film Nueve reinas / Nine Queens (Fabián Bielinsky, 2000) tries to remember a Pavone song throughout the film. The song 'Il Ballo Del Mattone' (The Fool's Dance) plays as the credits run.

In 2006, she announced her official retirement from show business. She was a Senate candidate in the Italian general election of 2006, for the centre-right list Per l'Italia nel Mondo (For Italy in the World) led by minister Mirko Tremaglia. Rita Pavone and her husband Teddy Reno now live in Ticino, Switzerland. They have two sons, Alessandro and Giorgio, both of whom have become involved in show business themselves: Alessandro as a radio show host and Giorgio as a rock singer. In 2020, Rita Pavona returned to the Sanremo Music Festival with the song 'Niente (Resilienza 74)'.


Italian postcard by E.N.P., Roma. Art work: F. [Franco] Picchioni.


Italian promotion card by Mondial. Rita Pavone, Giancarlo Giannini, Raffele Pisu, Mita Medici and Giulietta Masina in Non stuzzicate la Zanzara / Don't Sting the Mosquito (Lina Wertmuller, 1967).


Romanian collector card by Casa Filmului Acin. Rita Pavone and Araldo Tieri in La feldmarescialla / The Crazy Kids of the War (Steno, 1967).


Italian postcard.


Spanish postcard by Postal Oscarcolor, no. 290. Photo: RCA.


French postcard by E.D.U.G., no. 369. Photo: G. Neuvecelle.


Rita Pavone sings 'Datemi un Martello' (If I Had a Hammer) on a Rai TV Show. Source: Charassita (YouTube).


Rita Pavone sings 'Il plip' in Rita, la figlia Americana / Rita, the American daughter (1965). Source: Paolo Bruzzone (YouTube).

Sources: Mark Deming (AllMusic), Small Wonder (Official Rita Pavone website), Wikipedia and IMDb.

Published by Netter's Starverlag

Netter's Starverlag is a German publisher of star postcards. Some 50 years ago, Netter's reproduced vintage postcards of famous film stars. The originals were often Kunst und Bild postcards from the Adenauer era, the late 1940s and 1950s. The quality of the Netter's Verlag cards was definitely less than that of the original postcards. The numbers were often handwritten. They must have been a labour of love by a fan. We like these nostalgic cards and chose 14 examples for this EFSP post.


German postcard by Netter's Starverlag, Berlin, no. A 1205. Photo: Herzog Filmverleih. Wera Frydtberg in Sie / She (Rolf Thiele, 1954).

German film, television and stage actress Wera Frydtberg (1926–2008) was a star of the German cinema of the 1950s. She appeared in leading roles in Ich denke oft an Piroschka / I Often Think of Piroschka (1955) and Wir Wunderkinder / Aren't We Wonderful? (1958).


German postcard by Netter's Starverlag, Berlin. Photo: Constantin. Gina Lollobrigida in Notre-Dame de Paris / The Hunchback of Notre-Dame (Jean Delannoy, 1956).

Gorgeous Italian actress and photojournalist Gina Lollobrigida (1927-2023) was one of the first European sex symbols of the post-war years. ‘La Lollo’ paved the way into Hollywood for her younger colleagues Sophia Loren and Claudia Cardinale.


German postcard by Netter's Starverlag, Berlin. Photo: Metro-Goldwyn-Mayer. Greta Garbo in Susan Lenox (Her Fall and Rise) (Robert Z. Leonard, 1931). A reproduction of a Ross Verlag postcard, no. 1701/22.

Swedish Greta Garbo (1905-1990) was one of the greatest and most glamorous film stars ever produced by the Hollywood studio system. She was part of the Golden Age of the silent cinema of the 1920s and was one of the few actors who made a glorious transition to the talkies. She started her career in European cinema and would always stay more popular in Europe than in the USA.


West German postcard by Netter's Star Verlag, Berlin, no. T 855.

German actor and writer Hardy Krüger (1928-2022) was a blond heartthrob who acted in several international films of the 1950s and 1960s. He played friendly soldiers and adventurers in numerous German, British and French films and some Hollywood classics. Although he was often typecast as the Aryan Nazi, he hated wearing the brown uniform.


West German postcard by Netter's Star Verlag, Berlin, no. A 709. Photo: Herzog Film.


West German postcard by Netter's Starverlag, Bad Münder / Bakede. Photo: 20th Century Fox.

American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five Oscar nominations for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best-known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).


West German postcard by Netter's Starverlag, Berlin.

American film actor Paul Newman (1925-2008) was a matinee idol with the most famous blue eyes of Hollywood, who often played detached yet charismatic anti-heroes and rebels. He was nominated for nine Academy Awards in five decades and finally won the Oscar for The Color of Money (1986). He was also a prominent social activist, a major proponent of actors' creative rights, and a noted philanthropist.


German postcard by Netter's Starverlag, Berlin, no. F-326.

German actor, screenwriter and film director Volker von Collande (1913-1990) appeared in more than 40 films between 1934 and 1987. He usually played upstanding citizens or men in uniform. Von Collande also directed more than 20 films between 1942 and 1967. He was a member of the Nazi Party.


German postcard by Netter's Starverlag, Berlin, no. F-325.


German postcard by Netter's Starverlag, Berlin. Photo: RKO Radio Film.

American film star Robert Mitchum (1917–1997) is one of the icons of Hollywood thanks to his roles as tough guys, loners and drifters in many War films, Westerns and such classic Film Noirs as Out of the Past (1947) and His Kind of Woman (1952). His facade of cool, sleepy-eyed indifference proved highly attractive to both men and women. Mitchum portrayed two of the scariest screen villains ever: the psychotic evangelist Reverend Harry Powell in Night of the Hunter (1955) and cruel rapist Max Cady in the original Cape Fear (1962). During his notable 55-year acting career, he appeared in more than 125 films.


German postcard by Netter's Starverlag, Berlin.

Italian film actor Rik Battaglia (1927-2015) made nearly 100 film appearances between 1954 and 1999. He played the bad guy in dozens of Peplums, Euro-Westerns, and War films. In Germany, he became notorious as ‘The Man Who Shot Winnetou.‘


German postcard by Netter's Star Verlag, Bad Münder, no. A 169.

German actress and singer Lisa Lesco (1915-2003) was a popular stage performer and also appeared in a few German films from the 1930s to the 1950s. She appeared in successful operettas in Berlin theatres, opposite Johannes Heesters and Rudolf Platte.


West German postcard by Netter's Starverlag, Berlin. Photo: Generalcine Film.

Italian diva Silvana Pampanini (1925-2016) enjoyed enormous popularity in the 1950s and 1960s. In the early 1950s, before Sophia Loren and Gina Lollobrigida reached stardom, Pampanini was one of the most well-known symbols of Italian beauty.


West German postcard by Netter's Starverlag, Berlin.

For many decades, German-Swiss actor Mario Adorf (1930-2026) was a very active star of European cinema, known for his Mediterranean looks, his dark, oily frizzy hair and his imposing figure. He started as a talented newcomer in German films of the 1950s, he hammed his way through the 1960s as a villain in Euro-Westerns and action pictures, but then he became best known for his roles in some classics of the Junge Deutsche Film, such as Die Blechtrommel / The Tin Drum (1978) and Lola (1981). He appeared in over 200 films and TV shows.