Lino Ventura

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.

Angiolino Pasquale Ventura (14 July 1919 – 22 October 1987) was an Italian actor who appeared predominantly in French films.

After a first career as a professional wrestler was shattered by injury, he was offered a role in the Jacques Becker film Touchez pas au grisbi (1954) and quickly became one of France's top film actors, including Louis Malle, Claude Sautet, and Claude Miller.

Usually depicting a tough guy, whether a criminal or a cop, he appeared as a leader of the Resistance in the Jean-Pierre Melville-directed Army of Shadows (L'armée des ombres, 1969).

Since a daughter was born handicapped, he and his wife established Perce-Neige (Snowdrop), a charity that assists disabled children and their parents.

Despite the fact that he never renounced his Italian citizenship, he was named 23rd in a poll of the 100 best Frenchmen.

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Life and career

Lino Borrini, born in Parma, Emilia-Romagna, Italy, and Giovanni Ventura and Luisa Borrini, who followed France shortly after, dropped out of school at the age of eight and then worked in a variety of jobs. Ventura was interested in a prizefighting and professional wrestling career at one time, but she had to stop due to a fracture.

One of his acquaintances, chance, introduced him to Jacques Becker, who was looking for an Italian actor to replace Jean Gabin in a gangster film called Touchez pas au grisbi (1954). Becker introduced Angelo on the spot, but Ventura refused at first but later accepted. He was so present in the film that the entire industry took notice. The film was a huge success.

Ventura began to work in similar hard-boiled gangster films, often alongside his buddy Jean Gabin, which included his second film, Razzia sur la chnouf (1955).

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

Tiger Brown, the defunct police chief in The Threepenny Opera (1963) and mob boss Vito Genovese in The Valachi Papers (1972), two of his best known roles.

Although he remained an Italian citizen throughout his life and long used to being dubbed into Italian from the start of French, he only made a handful of films in his native language, including The Last Judgement (Cadaveri eccellenti, 1976) and Cento Giorni a Palermo (1983).

Ventura survived until the year 2000, just shy of his death from a heart attack at the age of 68. He founded Perce-Neige (Snowdrop), a charitable charity that supports disabled people because he had a disabled daughter.

He was one of France's most well-known actors throughout his career. He spoke French without any accent (excepting a Parisian one at the start of his career) and spoke Italian with a slight French accent when arriving in France at the age of seven. During the Second World War, he was officially recruited into the Italian army. However, although his wife and four children were French, he never intended to give up Italian citizenship out of love for his parents. Despite this, he was ranked 23rd of the 100 top Frenchmen 17 years after his death.

Ventura attributed his great success to his limited role as an actor, and he said, "If I can't believe in a story or if something doesn't ring true, I cannot do it."

"I started to realize how much I had been loved by so many people in a 1980 interview," he said in a 1980 interview. When I act, I am doing what I love doing and I am being compensated for it. "I put myself in the service of the film, not the film in place to me." He said he turned down several roles, including a part in Apocalypse Now (cut from the final film), a role in a Robert Aldrich film, and the role played by François Truffaut in Close Encounters of the Third Kind.

"The story is everything," he said. Jean Gabin, my good friend, told me 25 years ago that there are three main things in movies: the plot, the tale, and the story."

"I have limits," he said. "I have no experience; I could not do the classics." I can do it myself. And I prefer not to talk at all... I read the script and then try to embody the character. How that happened is very mysterious. I can't explain it. There are so many mysteries in cinema, including the way everything must interlock, that if you think about it all, you never want to make a movie."

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