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Her father, engineer Riccardo Scicolone, was married when he started out an affair with her mother, Romilda Villani, a piano teacher/artist/actress. He never helped raising Sofia Villani Scicolone, but he did concede her and her sister Maria to use his surname. He was never an active percentage of Sofia and Maria’s lives. Later in life, Ms. Loren genuinely had to remunerate him to know her younger sister publicly. Although Sofia was born in Rome, Italy, she grew up in poverty in the war – torn town of Pozzuoli outside of Naples. As she grew, she went through all of the awkward changes that young humans encounter. She bore the nicknames “La Stuzzicadiente” (toothpick) and “Stechetto” (stick) through these changes. Because of the impoverished conditions in her life, she was always little and underweight. On top of that, she was teased with regards to the size of her nose. In spite of all of this, she knew that she could be an actress one day and she set out to do just that. She made a solemn vow to fulfill her dream. Her mother, who harbored dreams of acting herself, encouraged her oldest daughter to pursue those. At the age of 16, Sofia begun doing bit elements in Italian movies. She also competed in territorial beauty contests and received assorted prizes. She started out posing for illustrations in Italian romance stories called “fotoromanzi”. At that time, she employed the names Sofia Villani and Sofia Lazzaro. In 1951 she and her mother appeared as extras in the movie “Quo Vadis”, which was filmed in Rome. This gave her a little taste of Hollywood and bolstered her determination to be an actress. Backing up here briefly in the timeline, in 1950, Sofia placed as a runner – up in the Miss Italy contest. Later that same year, she placed second in the Miss Rome contest. Her greatest prize that year, though, came in the form of her future husband, Carlo Ponti – a much older film director/producer. He was a judge of one of her competitions and was without delay attracted to the beauteous Miss Scicolone. Gone was the wafer-thin child. In her place was a statuesque (5′ 7″), voluptuous, young woman. The attraction was mutual. She would say later in life, “I necessitated a father, I necessitated a husband. I was adopted by Carlo and married my father”. Mr. Ponti without delay took control of the direction of Sofia’s career. Although her screen tests did not go well, he was not discouraged. In an undertake to get away from the effigy of a vamp, which she oftentimes portrayed in the comic strip style stories of the fotoromanzi – or fumletti – Mr. Ponti arranged for her to take on bit constituents which often times required little or no clothing. He hoped to capitalize on her well – endowed form to catapult her into more lawful films. Sources differ at to who genuinely changed Sofia Scicolone’s name to Sophia Loren in 1952. Some say that it was a producer who was attempting to disassociate her from the characters that she posed for in the fotoromanzi. Others say that it was Carlo Ponti himself who renamed her, then offered her a firm contract and made her his mistress. Theirs was a circumstance perplexed by the fact that Mr. Ponti was married and had two children. He wanted to marry his mistress, but the Catholic Church threatened excommunication and labeled Miss Loren a “concubine”. While he tried to resolve the repercussions which would come with regards to with a divorce she went on to make movies and “battle” with her onscreen “rival”, Gina Lollabrigida. Through conservatively planned publicity and her role in “Gold of Naples” (1954), Sophia Loren arrived in Hollywood. One of her primary roles which brought her to the attention of the American public, was in the 1959 movie, “Boy On a Dolphin”. she was scantily clad in an outfit which became transparent and clingy when wet. Of course, her generous physical natural abilities and qualities were very much in proof when she left the ocean and arrived on the beach. The public either loved it, or hated it, in accordance with their morals, beliefs, etc. Remember, this was the late 1950s. People then were not as “enlightened” as we are today. In 1957, manufacturers paired the most recent Hollywood sex symbol with Cary Grant in “The Pride and the Passion”. Mr Grant was “bewitched, bothered and bewildered” and impulsively proposed marriage. This apparent and public display of fervor stirred Mr. Ponti into action. He petitioned the divorce courts in Mexico. The dissolution of his marriage and his consequential marriage to Miss Loren were performed by proxy in Mexico. The Vatican, refusing to recognize the divorce, or his marriage to Miss Loren, without delay labeled Mr. Ponti a bigamist. The fallout was a huge scandal and the newlyweds were forced to annul their marriage. They remarried in 1966, however, once Mr. Ponti was capable to resolve the brouhaha with the Church. In spite of her burgeoning success as an actress, Miss Loren had one goal that she had not achieved. She wanted to carry a child and become a mother. She suffered through various ravaging and heartrending miscarriages before carrying to term and delivering, her primary child in 1969. His doting parents named him Carlo Ponti, Jr. Four years later she gave birth to his younger brother, Eduardo. Her joy exceeded even that of her Academy Award and honors which she received for her role in 1960 in Vittorio De Sica’s film, “Two Women”. About being a mother she said, “A mother has to think twice, once for herself and once for her child”. Miss Loren remained very general with movie goers allround the 1960s. She starred with various leading men of that decade including Marcello Mastroianni, Cary Grant, Richard Burton, Clark Gable, Charlton Heston, Paul Newman, Marlon Brando, John Wayne and Peter Sellers. She was standard not only for her beauty, but likewise for her quick wit, sense of humor and her insight. One of her bestloved and ofttimes repeated, quotes involved her personal dietary habits. When asked how she maintained her beauty and her figure, she said, “Everything you see, I owe to spaghetti”. After getting a mother Miss Loren continued to act, but scaled down her acceptance of roles and the consequent filming schedule, to devote time to her children. She did carry on to act, nonetheless and maintained a health modicum of her popularity. Throughout this time she remained a lovely and timeless beauty. She expanded her career through films, as well as a surprising best – marketing album of humorous songs that she recorded with peter Sellers. In 1980, she starred in a made – for – TV movie based upon her own life. Not only did she play herself, but the role of her mother as well. The movie won critical acclaim. In 1982, she made headlines for a legal problem. She was jailed for 18 days for tax evasion charges in Italy. It did not, however, diminish her popularity or star status. Nor did it harm her career. As she neared her 60s, Miss Loren became more queer with regards to her film roles, moving on to writing and publishing cookbooks and furthering her perfume, eye wear and jewelry lines. As with her acting career, she neared these endeavors enthusiastically and has been successful and standard with humans around the world for them. She co-starred in 1995 in the comedy sequel “Grumpier Old Men”, playing Walter Matthau’s love interest. Even at her age then she was still beautiful, romantic and undoubtedly sexy. Recent pictures show that time has not diminished her timeless, classic beauty. She is well – conventional and deserving, of the title which was given to her so a heap of years ago. And in her modest style she still maintains the she never set out to be a star, she just wanted to be an actress. I’d say that she more than achieved her dreams and goals. Since her filmography, awards and honors are rather extensive, they will not be listed here. For those who are “fans”, you may find more data regarding this unbelievable and timeless beauty on respective websites. Most helpful customer reviews 3 of 4 people found the following review helpful. The Scriabin is extremely interesting. The aureole of introspectiveness and poetic rapture is astonishing. Ponti plays these works with such conviction level and fevered pianism that it is hard for you to remain indiferent after listening them. Finally the big surprise is the incandescent live performance of the three movements of Petruschka. To my mind there is not any other version played with such fierceness and Siberian moods. This album is extremely recommendable for any one who is really interested to get close to that honest and undeservedly reknown pianist. Let me tell you that Michael Ponti has the immense honor -among other personal and artistic triumphs- of being the only pianist in the story who has recorded the entire repertoire of the following Russian composers: Alexander Scriabin, Piotr Illich Tcahiakovsky and Serguie Rachmaninoff. So I guess Ponti must domain the Russian musical language. Don’t you? Try to get this album as soon as you can! |
Intense and passionate recordings!