Silvana Mangano is an actress Italian born on 21 April 1930 in Rome and died on 16 December 1989 in Madrid.Daughter of a railroad Sicilian and mother English , she was raised in an atmosphere of poverty and deprivation, with his older brother Roy and his two younger sisters, Patrizia and Natascia. She discovered dance at the Opera and for seven years, his mother will make the effort to pay her dance classes at Jia Ruskaja at Milan . Silvana then became Mascetti model at the workshop. She participated in several beauty contests, she was elected Miss Rome in 1946. She competes for Miss Italy, along with Lucia Bosé (elected Queen), Gina Lollobrigida , Eleonora Rossi Drago and Gianna Maria Canale , all of which will make career cinema.She then took acting classes and met on this occasion his first great love, Marcello Mastroianni . Their union lasted a short time, but they will meet again regularly on movie sets. His first appearance will be in a cinema figuration in 1945 in a French film, The Last Judgment of René Chanas . The director Mario Costa's remark at that time and made him turn a small role in The Elixir of Love.
The dedication comes from 1949 with Bitter Rice (Riso amaro) of Giuseppe De Santis , where she played a provocative rice transplanter, short shorts and tight bodice; his cheeky air out as the first "sex symbol" of Italy after the war, a kind of national response to the Hollywood Rita Hayworth . His marriage with producer Dino De Laurentiis , the same year, allows him to better manage his career thereafter, he will work with the most famous actors of the time, as well as Italian Vittorio Gassman , Raf Vallone , Alberto Sordi and Nino Manfredi and internationally as Kirk Douglas , Anthony Quinn and Anthony Perkins , before the cameras of the greatest filmmakers of the time, Mario Camerini , Vittorio De Sica , Mario Monicelli , Luchino Visconti and Pier Paolo Pasolini . The position of her husband allows it to hire foreign filmmakers renowned Robert Rossen , René Clément and Martin Ritt to rotate.
Seductive, passionate, funny or pathetic, it adapts to all roles. And the success accumulate at about a location per year. In addition to two forays into the genre epic , one with Mario Camerini for Ulysses in 1955 , the other with Richard Fleischer for Barabbas in 1962 , it offers superb compositions in Anna with Lattuada , The Gold of Naples with De Sica , Men and wolves with de Santis , The Great War with Monicelli , each his alibi with Camerini and the Verona trial with Lizzani .