Giulietta Masina

Giulietta Masina (born February 22, 1921, San Giorgio di Piano, near Bologna, Italy—died March 23, 1994, Rome) was an Italian motion-picture actress and the wife of Italian film director Federico Fellini. Her portrayal of waiflike innocents served as the emotional focal point for some of Fellini’s best films.

Masina began acting in student theatre productions when she was in her teens. Although she enrolled as a student at the University of Rome in 1938, she continued to devote a good deal of time to acting in university plays and on radio. In 1939 she made her professional debut in an Italian translation of Thornton Wilder’s Happy Traveler. By 1943 Masina was gaining notice as a radio actress and had been cast as Pallina in Cico e Pallina, a radio serial about a young married couple written by Fellini. Soon after, on October 30, 1943, she and Fellini were married.

Masina won a Silver Ribbon (Italy’s major film award) for best supporting actress for her first important movie role, that of a prostitute in Alberto Lattuada’s Senza pietà (1948; Without Pity), coscripted by Fellini. She then played roles in several other Italian films before Fellini cast her in his first solo directorial effort, Lo sceicco bianco (1952; The White Sheik). In the minor role of the good-hearted prostitute Cabiria, Masina revealed her gift for pantomime and the charm and naïveté that would serve as the springboard for more fully realized characters in later Fellini films. With La Strada (1954; “The Road”), both Fellini and Masina achieved international success. As the childlike Gelsomina, the virtual chattel of a cruel circus performer, Masina relied on her remarkably expressive face and body to convey a range of emotions from sorrow and pathos to happiness and love, prompting many critics to describe her as a female Charlie Chaplin. She received similar praise for Le notti di Cabiria (1957; The Nights of Cabiria), in which Fellini and Masina revisited and amplified the character of Cabiria; Masina’s eloquent portrayal of the sentimental, gullible, and naively optimistic prostitute earned her the best-actress award at the Cannes Film Festival.

Throughout her career Masina’s talents remained allied with her husband’s films, never more so than in the semibiographical Giulietta degli spiriti (1965; Juliet of the Spirits). The film examines the dynamics of a strained marriage, and Masina plays the wife, Giulietta (the choice of name was not a coincidence), who faces the difficulties of asserting her own identity. After the film was released, Masina continued to perform regularly on radio and television but appeared less frequently in films. She also continued, as she had done throughout her marriage, to advise and collaborate with Fellini. Masina returned to the movies in 1986 in Fellini’s Ginger e Fred (Ginger and Fred). Her death in 1994 occurred just months after her husband’s.