European Actors

Collection of Classic European Actors

Leon Vitali
Leon Vitali

Leon Vitali (Wikipedia)

Leon Vitali was born. in 1948 in Leamington SpaWarwickshireEngland and went on to attend the London Academy of Music and Dramatic Art. Vitali guest-starred in a number of TV series in the early 1970s, appearing in Softly, SoftlyFollyfootRoads to FreedomZ CarsPublic EyeThe Fenn Street Gang, series 1 and Notorious Woman, among others. In 1973, he made his feature film debut in two movies: the Italian Super Bitch, directed by Massimo Dallamano, who had previously worked with Sergio Leoneas a cinematographer in the first two of his Dollars Trilogy, and the television film Catholics, alongside Martin Sheen and Michael Gambon.

It wasn’t until 1974 that Vitali met Stanley Kubrick, with whom he would go on to have a professional relationship for the rest of Kubrick’s career. Vitali answered a casting call for Barry Lyndon and got the part of Lord Bullingdon, the title character’s stepson. Kubrick and Vitali bonded during the shoot. As filming concluded, Vitali asked Kubrick if he could stay on, without pay, to observe the editing process, to which Kubrick agreed[3]. Five years later, Kubrick sent Vitali a copy of Stephen King‘s The Shining and asked him to join the production of Kubrick’s next film, to which Vitali eagerly agreed. He is credited in The Shining (1980) as “personal assistant to director”.

In 1977 he portrayed Victor Frankenstein in Terror of Frankenstein, Calvin Floyd’s adaptation of Mary Shelley‘s classic Frankenstein, where he met his future wife Kersti Vitali, who worked as costume designer in the shoot. The Vitalis then worked as costume designers in Birgitta Svensson‘s Mackan, after which Leon played a bit part in Svensson’s next film, Inter Rail (1981). Leon and Kersti would divorce later on. Swedish actress Vera Vitali is their daughter. Masha Vitali is a second daughter. Max Vitali is their son.

Vitali teamed with Kubrick again for Full Metal Jacket (1987), where he served both as casting director and assistant to the director. Twelve years later, Vitali was credited with the same titles in working with Kubrick in what would be the director’s last film, Eyes Wide Shut (1999), in which Vitali also played the Red Cloak. The words “fashion designer Leon Vitali” also appear in the third column of the newspaper article that Tom Cruise’s character reads to learn about a former beauty queen’s hotel drugs overdose.

Since Kubrick’s death Vitali has overseen the restoration of both picture and sound elements for most of Kubrick’s films. In 2004, Vitali was honored with the Cinema Audio Society‘s President’s Award for this work.

In 2017, Vitali was the subject of a documentary, Filmworker, directed by Tony Zierra and screened at the London Film Festival in October 2017, in which he is interviewed at length about his work with Kubrick.[4] The film was broadcast by Film4 in the UK on 7 March 2019, followed by a showing of Kubrick’s The Killing (1956).

In 1999, Vitali and filmmaker Todd Field, with whom he appeared in Eyes Wide Shut, began discussing the possibility of making films together. Vitali is credited as “technical consultant” on Field’s In the Bedroom (2001), and as “associate producer” on Field’s Little Children (2006), where he also made a cameo appearance as “The Oddly Familiar Man”.

He played the apothecary in Carlo Carlei’s Romeo & Juliet (2013).

Leon Vitali died in August 2022 aged 74.

Pablito Calvo

Pablito Calvo (real name Pablo Calvo Hidalgo) (16 March 1948 – 1 February 2000) was a Spanish child actor. After the international success of Marcelino, pan y vino, where he won a Cannes Film Festival award (1955), he became Spain’s most famous child actor. He did five more films, even in Italy, with Totò.

Retired from acting at the age of 16 to become an industrial engineer later, he worked in tourism and promoting buildings in Torrevieja.
.In 1976 he married  Juana Olmedo, with whom in 1979 he had a son, Pablito Jr.   He died aged 52 of an aneurysm.


Christian Marquand
Christian Marquand
Christian Marquand

Ronald Bergan’s “Guardian” obituary from 2000:

There must have been worse ways of earning a living than passionately making love to the 22-year-old Brigitte Bardot on the beach of St Tropez. Christian Marquand, who has died aged 73, was a lucky man.The film was And God Created Woman (1956), and the steamy scene was directed watchfully by Bardot’s husband, Roger Vadim. Mostly shot on location, the rather silly, but certainly sensual, tale was a good excuse for him to display his wife’s amoral charms in various forms of dress, which mainly comprised jeans, and undress.

But the film also gave Marquand’s career a boost. Vadim’s debut movie tells of how Bardot, shortly after her marriage to a wimpish Jean-Louis Trintignant, finds she is more attractive to her dour but handsome brother-in-law, Marquand. Coincidentally in real life, Trintignant was to marry Marquand’s sister, Nadine, a few years later. But back on the beach, Bardot teases Marquand into ripping off her clothes and taking her.

The film created a scandal in France. This was mainly because of the discreet nudity of the beach scene, but Vadim complained that the censors forced him to cut the sequence.

Marquand himself was no stranger to scandal. The previous year he had a role in Marc Allègret’s Lady Chatterly’s Lover, which had starred Danielle Darrieux as the erring English aristocrat. In his private life, he married Tina, the daughter of Jean-Pierre Aumont and Maria Montez, in 1963, then had a son by the actress Dominique Sanda in the early 1970s. Thus he seemed to reflect his adulterous film persona.

One of his best pictures was Alexandre Astruc’s Une Vie (1958), based on a Guy de Maupassant story. In it, Marquand was the womanising husband of a young, innocent aristocrat, played by a cloying Maria Schell.


His affair with a friend’s wife (beautiful Antonella Lualdi) leads to his death. The main strength of the film, apart from Claude Renoir’s wonderful impressionistic Technicolor photography, was the way in which Marquand managed to find many nuances in the unsympathetic character he played.

Marquand was born in Marseilles, the son of a Spanish father and an Arab mother; the fact that he spoke Spanish, Arabic, French, English and Italian – all learned as a child – aided his international career. At the age of 21, his dark good looks got him a bit part in Jean Cocteau’s Beauty And The Beast (1946), and he was soon getting slightly bigger roles, such as the Bohemian officer friend of the caddish soldier hero (Farley Granger) in Luchino Visconti’s lush melodrama, Senso (1954).

In the 1960s, he moved with ease between films made in France and those coming out of Hollywood. Among the uninspiring latter were the D-Day epic, The Longest Day (1962), in which Marquand enlisted as part of the French contingent; Fred Zinnemann’s post-Spanish civil war film, Behold A Pale Horse (1964), in which he played a Spaniard; and, as the French doctor among the aircrash survivors, in Robert Aldrich’s The Flight Of The Phoenix (1966).

Marquand was better served by Claude Chabrol in The Road To Corinth (1967), in which he portrayed an American Nato security officer investigating mysterious boxes jamming US radar installations in Greece. In 1962, he made Of Flesh and Blood, a competent thriller featuring Anouk Aimée, and the first of two films he directed.

Marquand’s succès de scandale was Candy (1968), about the conquests of a nymphet, played by Ewa Aulin, and adapted by Buck Henry and Terry Southern from the latter’s novel. In the movie, a large international cast, including Marlon Brando, Richard Burton, John Huston, Walter Mathau, James Coburn, Charles Aznavour, Elsa Martinelli, Ringo Starr, and even the boxer Sugar Ray Robinson, did a series of star turns.

The result, according to the Monthly Film Bulletin, was that “hippy psychedelics are laid on with the self-destroying effect of an overdose of garlic”. Disappointed by this mainly negative reception, amidst the era of the love generation, Marquand returned to acting.

Tragically, in the early 1980s, however, he was struck by Alzeimer’s disease and retired from the world. He spent many of his last years in hospital, not knowing anybody who visited him. His sister, the director Nadine Trintignant, wrote a moving book about his plight, Ton Chapeau au Vestiaire (His Hat in The Cloakroom).

She survives him, as do his actor brother Serge Marquand, his former wife Tina Aumont, and his son.

Christian Marquand, actor; born March 15 1927; died November 22 2000

Sergio Fantoni
Sergio Fantoni
Sergio Fantoni

Wikipedia entry:

He was born in Rome, the son of actor Cesare Fantoni (1905–1963). In films from the late 1940s, he has worked mainly in his own country but made several appearances in American films in the 1960s, most notably opposite Frank Sinatra in the war film Von Ryan’s Express, made in 1965. In 1960 he played the villainous Haman in Esther and the King, starring Joan Collins and Richard Egan in the title roles. Among his TV roles, he appeared alongside Anglo-Italian actress Cherie Lunghi in the Channel 4 series The Manageress.


Sergio Fantoni – actor, dubbing actor, and director – would have turned 90 in August. He worked with the greatest directors, from Luchino Visconti to Blake Edwards, played in Hollywood, and got his fame from popular TV shows in the 1970s and 1980s like Anna Karenina, The Octopus and La coscienza di Zeno. His latest role was in TV series Il commissario Montalbano, in the episode “The Violin’s Voice.”

Born in Rome on 7 August 1930 from a family of artists, Fantoni first thought to become an engineer or an architect, but his passion for theatre was stronger. He started with some experimental theatre companies and in the 1970s, together with Luca Ronconi and his wife Valentina Fortunato, he founded one of the first independent theatre companies. On the big screen, he worked with directors such as Luchino Visconti (Senso), Francesco Maselli (The Dolphins with Claudia Cardinale), Giuliano Montaldo (Tiro al piccione and Sacco and Vanzetti).

He worked in Hollywood in the early 1960s in film such as Mark Robson’s The Prize, Von Ryan’s Express with Frank Sinatra, and Blake Edward’s What Did You Do in the War, Daddy? He also played in Peter Greenaway’s The Belly of an Architect.

His full-frontal nudity in Delitto di Stato, aired on Rai 2 in 1982, caused a scandal.

As a dubbing actor, he was the voice of American stars such as Marlon Brando (Apocalypse Now), Henry Fonda, Rock Hudson, and Ben Kingsley.

After an operation to the larynx in 1997, he dedicated himself to theatre direction. With playwright and director Ivo Chiesa and colleague Bianca Toccafondi in 2022 he won the Lifetime Achievement Award entitled to Ennio Flaiano

Sergio Fantoni died in Rome in 2020 at the age of 89.

Francoise Arnoul
Francoise Arnoul
Francoise Arnoul
Francoise Arnoul




“Wikipedia” entry:

Françoise Arnoul (born 3 June 1931) is a French actress, who achieved popularity during the 1950s.

Born Françoise Annette Marie Mathilde Gautsch in  Algeria as the daughter of stage actress Janine Henry and artillery general Charles Gautsch, she has two brothers. While her father continued military service in Morocco, the rest of family moved to Paris in 1945.   After learning drama there, she was noticed by director Willy Rozier, who offered her a major role in the film L’Épave (1949).

Arnoul starred in such films as Henri Verneuil‘s Forbidden Fruit (1952), Jean Renoir‘s French Can-Can (1954), Des gens sans importance (1956) with Jean Gabin, Henri Decoin‘s La Chatte (1958), Le Chemin des écoliers (1959) with Bourvil, and Jean Cocteau‘s Testament of Orpheus (1960).   Later in life, she moved into television, appearing in different TV movies and mini-series and also turning to character parts. She published her autobiography entitled Animal doué de bonheur in 1995.   In 1956, Arnoul was married to publicity agent Georges Cravenne whom she had met two years previously, but they separated in 1960.[4] From 1964, she became the companion of French director/scriptwriter Bernard Paul, a relationship which lasted until his death in 1980.


Karin Dor
Karin Dor
Karin Dor

Karin Dor was born on February 22, 1938 in Wiesbaden, Hesse, Germany as Kätherose Derr. She is an actress, known for You Only Live Twice (1967), Topaz (1969) and Winnetou: The Red Gentleman (1964).

IMDB Entry:

Karin Dor obituary in “The Guardian” in 2017.

No matter what roles she played in films, on stage or on television throughout the rest of her career, the German actor Karin Dor, who has died aged 79, was labelled a Bond girl. Her induction as a member of this exclusive group of beautiful women who have provided James Bond with a love interest came in You Only Live Twice (1967), in which she met a memorably grisly end.

Karin Dor
Karin Dor

Dor played the seductive, titian-haired Helga Brandt, an operative of the criminal organisation Spectre ordered to kill 007 (Sean Connery), who has been conveniently tied up for her. “I’ve got you now,” she states ambivalently. “Well, enjoy yourself!” he replies. She slaps his face and threatens him with a surgical knife, which he wrestles from her, using it to cut the strap on her black dress.

Helga expertly switches from being cold and calculating to passionately kissing Connery. She seems to have changed sides, though she makes a further attempt to kill Bond by trapping him in a booby-trapped plane, which she parachutes out of, before it crashes. When the super-villain Spectre boss Blofeld (Donald Pleasence) discovers that Bond has survived the crash, he activates a mechanism that dumps Helga into a tank filled with piranha fish, which eat her alive.

Dor also fails to survive to the end of Alfred Hitchcock’s Topaz (1969). A rare bright spot in one of Hitchcock’s most anonymous films, she is Juanita de Cordoba, a dark-haired anti-Castro resistant, her German accent notwithstanding, known as the widow of a “hero of the revolution”, a description that enables her to work undercover. When her activities are discovered, she is shot by her revolutionary lover, providing the film with its best visual sequence. As Juanita collapses onto a marble floor, her deep purple dress spreads beneath her like a pool of blood.Advertisement

Surprisingly, these high-profile roles in two English language commercial successes did not help Dor to achieve further international recognition. However, she was hugely popular in Germany and Austria throughout the 1960s, mainly in escapist action movies loosely based on the thrillers of Edgar Wallace (called Krimis from the German Kriminalfilm), and the western adventures of Karl May, co-starring the dubbed ex-Tarzan Lex Barker, almost all of them directed by her first husband, Harald Reinl.

Born Kätherose Derr in Wiesbaden, she studied acting and ballet at school and began in films as an extra. Her marriage at 18 to the Austrian director Reinl, 30 years her senior, gave her the chance to appear as a juvenile lead in numerous period melodramas and operettas such as The White Horse Inn (1960).

Apart from the Wallace and May series, Dor was a favourite fräulein in distress in several horror movies with Barker as the hero, including The Invisible Doctor Mabuse (1962), The Face of Fu Manchu (1965) and The Torture Chamber of Doctor Sadism (1967), the last two starring Christopher Lee as an evil mastermind.

In contrast to the range of the low-budget Krimis, horror spin-offs and German westerns, Dor starred as Brunhild in Reinl’s The Nibelungen, shown in two parts, Siegfried (1966) and Kriemhild’s Revenge (1967), an epic that required the use of 8,000 extras in one battle scene alone.

Dor took fewer and fewer film roles from the 70s onwards, although she did appear regularly in series on German television.

Her third husband, the stuntman George Robotham, died in 2007. Dor is survived by a son, the actor Andreas Renell, from her marriage to Reinl, which ended in divorce, as did her second marriage.

• Karin Dor (Kätherose Derr), actor, born 22 February 1938; died 6 November 2017