Lino Ventura

Movie Actor

Lino Ventura was born in Parma, Emilia-Romagna, Italy on July 14th, 1919 and is the Movie Actor. At the age of 68, Lino Ventura biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
July 14, 1919
Italy, France
Place of Birth
Parma, Emilia-Romagna, Italy
Death Date
Oct 22, 1987 (age 68)
Zodiac Sign
Amateur Wrestler, Film Actor
Lino Ventura Height, Weight, Eye Color and Hair Color

At 68 years old, Lino Ventura physical status not available right now. We will update Lino Ventura's height, weight, eye color, hair color, build, and measurements.

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Lino Ventura Religion, Education, and Hobbies
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Lino Ventura Spouse(s), Children, Affair, Parents, and Family
Odette Lecomte ​(m. 1942)​
Dating / Affair
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Lino Ventura Personal Life

Born in Parma, Emilia-Romagna, Italy to Giovanni Ventura and Luisa Borrini, who moved to France soon thereafter, Lino dropped out of school at the age of eight and later took on a variety of jobs. At one point Ventura was pursuing a prizefighting and professional wrestling career but had to end it because of an injury.

In 1953, by chance, one of his friends mentioned him to Jacques Becker who was looking for an Italian actor to play opposite Jean Gabin in a gangster movie called Touchez pas au grisbi (1954). Becker offered him on the spot the role of Angelo, which Ventura refused at first but then accepted. He had such a presence in the film that the whole profession took notice. The film was a big success.

Ventura started to build up an acting career in similar hard-boiled gangster films, often playing beside his friend Jean Gabin, including his second film, Razzia sur la chnouf (1955).

He followed it with Law of the Streets (1956), Crime and Punishment (1956) with Gabin.

Some of his most famous roles include the portrait of corrupt police chief Tiger Brown in The Threepenny Opera (1963) and mob boss Vito Genovese in The Valachi Papers (1972).

Although he remained an Italian citizen throughout his life and long used to seeing himself dubbed into Italian from the original French release, he only made a handful of films in his native language, among them The Last Judgement (Il giudizio universale, 1961), Illustrious Corpses (Cadaveri eccellenti, 1976) and Cento Giorni a Palermo (1983).

Ventura remained active until the year before his death from a heart attack in 1987 at the age of 68. Having a disabled daughter himself, he created a charitable foundation, Perce-Neige (Snowdrop) in 1966, which supports disabled people.

Throughout his career, he was one of the most popular actors of French cinema. He spoke French without any accent (excepting a Parisian one at the beginning of his career) and spoke Italian with a slight French accent, having arrived in France at the age of seven. Forcibly conscripted into the Italian army during the Second World War, he deserted. But, although his wife and four children were French, he never wanted to give up Italian citizenship, out of respect for his parents. Despite this, he was ranked 23rd of the 100 greatest Frenchmen, 17 years after his death.

Somewhat paradoxically, Ventura attributed his great success to his limited range as an actor; and often said "If I cannot believe in a character, or if something does not ring true, I cannot act it."

In a 1980 interview he said that the previous year "I began to realize how incredibly lucky I had been since the age of 9, how much I had been loved by so many people. When I act, I am doing what I love, and I am paid for it. So I put myself in the service of the film, never the film in service to me." He mentioned he turned down several roles - a part in Apocalypse Now (cut from the final film), a role in a Robert Aldrich film and the part played by François Truffaut in Close Encounters of the Third Kind.

He said, "The story is everything. My good friend Jean Gabin told me 25 years ago there are three important things in movies: the story, the story and the story."

"I have limitations," he said. "I have no training; I could not do the classics. What I can do is myself. And I like best not to talk at all... I study the script, and then try to become the character. That is very mysterious, how that happens. I cannot explain it. There are so many mysteries in cinema, the way everything must interlock, that when you think of it all, you never want to make a film."