The composed and very sensual smile, his adorable Italian declined in French accents, the breathtaking legs, the little “lolita” body … and then the fresh and radiant charm of a youth prolonged by a teenage debut: needless to say that his helmet easily conquered the Italian male with that disturbing and disturbing beauty of a bourgeois girl, and then over time first became an elegant model for Italian girls – dictating the fashion that shortened the lapels of skirts and trousers – and therefore in the “confidential voice” of the more elegant TV lounge for women.
Catherine Spaak died at the age of 77 after a long illness. She was born on April 3, 1945. A cinematographic prototype of adolescent anxieties, sexy and naive at the same time, she combined with candid malice the bourgeois excesses of young women by now ready to overturn stereotypes and false modesty.
Belgian
On the other hand, Borghese was so by extraction rather than by cinematographic interpretation. Born in France she was actually Belgian: her father Charles was a screenwriter for Renoir and Duvivier, her mother was the actress Claudie Clèves, actress also her sister, while her uncle Paul-Henri was prime minister of the Belgian Kingdom.
At the age of fourteen, the shooting of her debut on the big screen in “The hole” by Jacques Becker, a film that came out in 1960, and in the same year, still fifteen, Alberto Lattuada wanted her in “Dolci deceptions”. From there and for a long time she will be the prototype of the shrewd and strong-willed teenager. The disturbances of the immature girls from good families thus have an indomitable interpreter in her: she will become the object of men’s desire and a symbol for the girls of the time, who found an escape route in the uninhibited stereotype of teenagers across the border. to the constraints of a rural Italy that anchored them to outdated dogmas and frustrating coercions. Thus the young women finally had their reference model, in search of a redemption that the economic boom made at hand even amid the constraints and conventions of a society dullly anchored to the past.
The cinema
After the aforementioned “Dolci inganni”, in several feature films shortly thereafter she will play the role of other daring and cheeky girls: think of “Eighteen years in the sun” by Camillo Mastrocinque, to “The mad desire” by Luciano Salce or to the masterpiece ” The overtaking “by Dino Risi, all from 1962. It is a period in which Catherine Spaak is already in great demand and in 1963 she works in five films, which contribute to increasing her charm and her erotic and irresistible icon:” The hot life ” by Florestano Vancini, “Le monachine” by Luciano Salce, “Women” (episode of “L’amore difficile”) by Sergio Sollima, “La parmigiana” by Antonio Pietrangeli and the unforgettable “La boredom” by Damiano Damiani, from the novel of the same name by Alberto Moravia, in which he plays alongside Bette Davis. His fame grew and was called by foreign directors such as Roger Vadim (“Pleasure and love”) and Henri Verneuil (“Week-end a Zuydcoote”) and by great authors such as Marco Ferreri with “Break-Up – L ‘ man of the five balloons “and Luigi Comencini with” La bugiarda “. The cult “The Brancaleone Army” by Mario Monicelli from 1966 deserves a special mention, in which she stands up to an irrepressible Vittorio Gassman.