A volatile, commanding star of post-war Italian cinema, Anna Magnani was once described by director William Dieterle as "the last of the great shameless emotionalists". She gained international attent...
The Queen star took to the stage at the event in Malta to accept a prize for her contribution to world cinema and she used the opportunity to reference Moreau in her acceptance speech, telling the audience, "Thank you for the great honour of recognising that I too am a f**king w**re - and I am very very proud of it."
Mirren's outburst mirrored a speech by Moreau, who won a similar honour at the 2007 event and proclaimed: "We are the f**king wonderful w**res of European cinema."
The British actress went on to explain her choice of words by listing Moreau among the actresses she has idolised throughout her career, adding, "Jeanne Moreau, Monica Vitti, Claudia Cardinale, Liv Ullmann, Hanna Schygulla, Melina Mercouri, Irene Papas and for me the greatest of all Anna Magnani - those to me were the actresses that I looked up to and and wanted to be like - I wanted to be an actress like them and I wanted to be a woman like them."
During the ceremony, director Bernardo Bertolucci was honoured with a lifetime achievement award, and Michael Haneke's latest movie Amour scooped the event's top prize - the Best European Film of 2012 title.
A former shoeshine boy, he went on to a prodigious movie career and a prodigious life, starring in more than 100 feature films and siring 13 children. On Saturday, Anthony Quinn passed away from respiratory failure, robbing Hollywood of a true legend. Quinn was 86.
The tempestuous screen image of two-time Academy Award winner and Renaissance man Anthony Quinn matched his much-publicized, unquenchable thirst for life.
Quinn's exotic background enabled him to play a potpourri of ethnicity, ranging from an Eskimo in Savage Innocents (1960) to a Russian pope in Shoes of the Fisherman (1968), to his most famous role, Zorba the Greek (1964).
Quinn also played a plethora of historical roles like Crazy Horse in They Died with Their Boots On (1942), Attila the Hun in Attila (1955), Paul Gauguin in Lust for Life (1956) and Kubla Khan in Marco the Magnificent (1966).
The death of his Irish-Mexican father, who had ridden with Pancho Villa before settling in Los Angeles to work as a cameraman and prop man, forced the younger Quinn to help support his grandmother, mother and sister. In addition to working such positions as shoeshine boy, cement mixer and foreman in a mattress factory, Quinn also played saxophone in evangelist Aimee Semple McPherson's orchestra.
During junior high school Quinn won a chance to study and work with celebrated architect Frank Lloyd Wright, whose insistence that Quinn attend acting school to improve his speech ultimately led to his career in film.
Though Quinn acted on stage with Mae West in Clean Beds and spoke his first lines on film in Parole (both 1936), he made a lasting impression by standing up to Cecil B DeMille, who cast him as a Cheyenne Indian in 1937's The Plainsman.
As cast and crew looked on, Quinn responded to the most recent of a series of abusive outbursts from the director by telling DeMille how he should shoot the scene and where DeMille could put his $75 a day salary. After staring at the young actor for some time, DeMille announced, "The boy's right. We'll change the set-up," and later said admiringly, "It was one of the most auspicious beginnings for an actor I've ever seen."
Quinn would act in two more movies, The Buccaneer (1938) and Union Pacific (1939), for the directing legend. He would also woo and marry his adopted daughter Katherine and helm the 1958 remake of The Buccaneer, executive produced by DeMille and the director's last project before he died.
By then, Quinn had shaken free of the son-in-law tag to become a star in his own right, exhibiting tremendous staying power over the course of a career spanning seven decades, mixing inspired performances with good cured ham.
Quinn played his fair share of Indians amidst assorted heavies, even ending up with Bob Hope, Bing Crosby and Dorothy Lamour in two of the "Road" movies: Road to Singapore (1940) and Road to Morocco (1944). But despite many good notices for supporting roles in pictures like Blood and Sand (1941), The Ox-Bow Incident (1943) and Back to Bataan (1945), it would take a return to the stage to raise his stock higher.
He made his Broadway debut in The Gentleman from Athens (1947) before director Elia Kazan tapped him as Stanley Kowalski for a U.S. tour of A Streetcar Named Desire. Kazan then cast him as Marlon Brando's brother in Viva Zapata (1952), for which he earned the first of two Oscars as Best Supporting Actor.
Quinn played an aging bullfighter opposite Maureen O'Hara in Budd Boetticher's The Magnificent Matador (1955) and then won his second Best Supporting Actor Academy Award for his portrayal of larger-than-life artist Paul Gauguin in Lust for Life (1956), the title an apt description of his own zestfulness.
Finally, after 20 years in the business, he had become a full-fledged box office star, and the next year would see him garner a Best Actor Oscar nomination for his turn opposite Anna Magnani in 1957's Wild Is the Wind. Quinn followed in the prestigious footsteps of Lon Chaney and Charles Laughton as Quasimodo in The Hunchback of Notre Dame; the actor was also outstanding as the opportunistic Bedouin Auda Abu Tayi in David Lean's Lawrence of Arabia (1962).
Although Quinn had portrayed with distinction Greek patriot Colonel Andrea Stavros in 1961's The Guns of Navarone, that character paled before what would become his signature role. The very embodiment of the actor's passion for living, Zorba the Greek (1964) was a wise and aging peasant, totally committed to life, no matter the outcome. From his slapstick pursuit of aging French courtesan (Oscar-winner Lila Kedrova) to the pathos of cradling her as she died in his arms, Quinn pulled out all the emotional stops on his way to another Best Actor Oscar nomination.
Nearly 20 years later, Quinn reprised Zorba!, this time in a 1983 revival of the Broadway musical which reunited him with both Kedrovaand the film's writer-director Michael Cacoyannis. Quinn earned a Tony nomination for his efforts before touring the U.S. from 1983-86, forever stamping the part as his in the minds of the theater-going public.
Wife Kathy Benvin, who is the mother of his two youngest children, survives Quinn, along with eight sons and four daughters.
After marriage to Alessandrini, retired from stage and screen (except for "La principessa Tarakanova" 1938) because he felt her unsuitable as a screen actress; returned to stage in melodramatic roles
Appeared on stage as Medea in Jean Anouilh's play, directed by Gian Carlo Menotti
Came to attention of film director Goffredo Alessandrini who cast her in a small part in "Cavalleria" (1936)
Appeared in racy revues for servicemen during the American occupation of Rome after WWII
Returned to Italian stage in "La Lupa/She-Wolf" under the direction of Franco Zeffirelli
Film debut in bit part in silent film, "Scampolo"
Made first Hollywood film, "The Rose Tattoo"
"Il Miracolo/The Miracle" segment of the 1947 film "L'Amore/Love" was banned by the Commissioner of Licenses as "blasphemous" when it opened in New York in December
Final film appearance in a cameo in "Fellini's Roma"
Film acting debut in "La Cieca di Sorrento/The Blind Women of Sorrento"
Worked in nightclubs where she sang street songs in a torchy contralto; also appeared in variety revues and by 1926 in experimental plays
Appeared in first important film, "Teresa Venerdi/Friday Theresa" (directed by Vittorio de Sica)
Brought up in poverty by her maternal grandparents after her Egyptian father disappeared and her unmarried Italian mother departed for Egypt
Final film performance in "The Secret of Santa Vittoria"
A volatile, commanding star of post-war Italian cinema, Anna Magnani was once described by director William Dieterle as "the last of the great shameless emotionalists". She gained international attention for her impassioned performance in Roberto Rossellini's "Open City" (1945). Though her early career had encompassed repertory work, musical comedy and vaudeville, Magnani subsequently tended to appear in tempestuous, earthy and maternal roles, such as the overbearing stage mother in Visconti's "Bellismima" (1951) and the passionate widow in her Oscar-winning Hollywood turn in "The Rose Tattoo" (1955), written by Tennessee Williams with her in mind.
Wild-eyed, with a dumpy, matronly figure, and a disheveled appearance, Magnani nonetheless became a symbol of seething, earthy, mature sexuality in the postwar years and throughout the 1950s. She was outstanding as the commedia dell'arte actress in Jean Renoir's "The Golden Coach" (1952) and her performance as a deranged peasant who believes herself impregnated by St. Joseph in Rossellini's "L'Amore" (1948) was condemned by American censors as blasphemous. Magnani's last really important performance in film came with her galvanizing work in the title role of Pier Paolo Pasolini's powerful "Mamma Roma" (1962), though she was quite pleasingly robust and lusty in the enjoyable comedy "The Secret of Santa Vittoria" (1969). Her last screen role was a cameo in Fellini's "Roma" (1972).
born in 1942; father, Massimo Serrato; later stricken with polio