Frost Interviews: Italian Actor Claudia Gerini

_Claudia Gerini by Cristina GhergoFrost interviewed the beautiful and talented Claudia Gerini. Prolific and mufti-lingual, Claudia can be seen in Labyrinth, broadcast on Friday 29 and Sunday 31st March on Channel 4.

You got your first role when you were only 14. Do you think starting so young was a good thing?

Well, I think that there are advantages and disadvantages in all of

one’s decisions. Perhaps the positive side of this was that I started to work

immediately and was able to throw myself into the career that I had always

known I wanted to follow. The negative side could be that I started to work

straight away and so I wasn’t able to develop other interests or perhaps lost

out on other things but, at the end of the day I think that say it was a more

positive than negative outcome.

What is your favourite role you have played?

Well, I suppose it was the part that I had I’m Crazy about Iris Blond. I

played the part of a waitress ― Iris Blond ― who then becomes a singer and

given that singing is my passion and the role required me to sing a lot, I really

enjoyed that part.

You have over 53 credits on IMDB, how do you think you managed to have such a long and prolific career?

I suppose taking decisions and making the right choices. I don’t really

know. I follow a trajectory in which I try to follow a set of principles and be

faithful to my ideas and plans. Part of this is probably my love of challenge

and so I try not to repeat myself too much and I am always on the look out for

new genres and different roles.

Favourite film?

I have no doubts about that one. Moulin Rouge by Baz Luhrmann. I

don’t know how many times I’ve seen it over the years.

Favourite genre to work in?

I think I’d have to say comedy, a more romantic or ironic comedy but

then again, given that I like changing genres and roles and I am always on

the look out for a challenging role, I like dramatic roles as well.


You have worked in many different languages. Do you find learning

other languages hard? What is your favourite language to work in?

I find it quite easy to learn new languages, probably because I have a

good ear and so I tend to pick up the sounds quickly. I learned Spanish,

French and English this way and if I have to work in another language then

probably I prefer working in Spanish or English.

What would you be if you were not an actress?

If I could stay in the entertainment sector then I’d love to be a singer. If

I had to change sector then I think I’d love to work with children, young

children; perhaps as a pedagogue or even a primary school teacher.

How do you stay in shape?

I keep in shape by going to Taekwondo classes 3 times a week. Its so

energetic that you don’t really need to do anything else; there is a lot of cardio

and stretching and so its an all-round sporting activity. Recently I’ve

discovered pole dancing which is a lot of fun so I suppose just keeping myself

in movement. You know, being a full-time working mother, I have very little

time to sit and relax and another thing is that I’m slowly moving towards a

more vegetarian diet as well even though I still eat meat occasionally.

What’s next for you?

At the moment I am working on some projects that will be staring this

summer and so I’ll be back on set shooting in July. Tulpa is also being

released in Italy on the 30th of May and so I’ll be a bit busy with that as well

and so, in general, I’m getting ready to start filming again this summer.

Jean Gabin: Working Class Hero to Godfather at BFI Southbank in May

Jean Gabin (1904–1976) is one of the most renowned stars of French cinema. Throughout May BFI Southbank celebrates a career that spanned over four decades and which featured performances in both silent cinema and the talkies. Beginning with Jean Gabin: Anatomy of a Myth, on Wed 2 May, an introduction from season curator Ginette Vincendeau, Professor in Film Studies at King’s College London, the centrepiece of this season is the nationwide release and extended run of a newly restored classic of ‘poetic realism’ Le Quai des brumes (France 1939) from 4 May.

Between 1930 and 1976, magnetic French star Jean Gabin built an unparalleled screen image that encompassed the tragic working-class hero with a rugged charisma to underworld Godfather figures. He remains one of the great icons of cinema, and this season explores the appeal of his mythical vision of the ‘ordinary’ Frenchman.

Born Jean Alexis Moncorgé in 1904 to a family of performers, Gabin started out as a comic singer at the Moulin Rouge. His performances started getting noticed, and better stage roles came along that led to parts in two silent films in 1928. Two years later, he easily made the transition to the talkies, and soon switched to dramatic parts in cinema. From 1935 to 1939, he was the most popular French matinee idol of the pre-war period and gave performances in an extraordinary run of masterpieces Pépé le Moko (Dir, Julien Duvivier, 1937), La Bête humaine (Dir, Jean Renoir, 1938) and Le Jour se lève (Dir, Marcel Carné, 1939).

It was Renoir’s anti-war masterpiece La Grande Illusion (1937) (on extended run at BFI Southbank throughout April) that cemented Gabin’s international superstar status, and the film received universal critical acclaim. A certified classic of world cinema, the film has recently been re-released to celebrate its 75th anniversary.

Gabin’s fame was reinforced by a series of hits, including Marcel Carné’s marvellously moody crime thriller Le Quai des brumes (1939) playing one of his most memorably iconic roles as an army deserter on the run.

The war propelled Gabin to a brief stint in Hollywood, where he made Moontide (Dir, Archie Mayo, 1942) under contract with Fox. It was a fascinating attempt at ‘Americanising’ his image but Gabin felt uncomfortable speaking English. At Universal, he and Duvivier were reunited for The Impostor (1944). While working for RKO Pictures, Gabin’s difficult personality did serious damage to his Hollywood career. Scheduled to star in an RKO film The Temptress, he demanded Marlene Dietrich to be cast as his co-star (they were ensconced in a torrid, real-life affair throughout the early-to-mid 1940s). The studio refused. Gabin remained stubborn in his demand, yet he was fired and the project was shelved. RKO issued the warning that he would never work in Hollywood again; Gabin shrugged off the threat and proceeded to rejoin the French troops in North Africa.

However by the early 1950s it looked as if Gabin’s era had passed. But then Jacques Becker’s Touchez pas au grisbi (1954) and Renoir’s French Cancan (1955) catapulted him back to the top of the box-office. Suddenly Gabin was again a global star. Over the next twenty years until his death in 1976, Gabin made many more films, most of them very successful, commercially and critically. The season includes his later films such as Maigret tend un piège (Dir, Jean Delannoy, 1958), the first and best of three films in which he tackles Georges Simenon’s illustrious Commissaire Maigret; the nail-biting thriller Melodie en sous-sol (Dir, Henri Verneuil, 1963) co-starring Alain Delon who would always credit Gabin as a great influence; and the most poignant of his later films, Le Chat (Dir, Pierre Granier-Deferre, 1971) with tour-de-force performances by Gabin and the great Simone Signoret as an ageing and feuding husband and wife.

Gabin’s career lasted over 40 years and he became a mythical figure of French cinema. His rugged looks, rough voice and Parisian accent still anchored his characters in the same social milieu, and this is why he kept his popular following. Ultimately Gabin’s charisma endowed the ordinary man with dignity and prestige.