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Laura Antonelli
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Laura Antonelli (née Antonaz; 28 November 1941 – 22 June 2015) was an Italian film actress who appeared in 45 films between 1964 and 1991.
Key Information
_-_Laura_Antonelli.jpg)
Early years
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Antonelli was born Laura Antonaz in Pola, Kingdom of Italy (in Croatian, Pula), former capital of Istria.[1] After the war, her parents fled what was then Yugoslavia, lived in Italian refugee camps and eventually settled in Naples,[2] where her father found work as a hospital administrator. Antonelli had a childhood interest in mathematics, but as a teenager, she became proficient at gymnastics. In an interview for The New York Times, she recalled, "My parents had made me take hours of gym classes during my teens ... They felt I was ugly, clumsy, insignificant and they hoped I would at least develop some grace. I became very good, especially in rhythmical gym, which is a kind of dance."[3]
Setting aside ambitions to make a career in mathematics, she graduated as a gymnastics instructor.[4] She moved to Rome, where she became a secondary-school gym teacher and was able to meet people in the entertainment industry, who helped her find modelling jobs.[1]
Career
[edit]
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Antonelli's earliest engagements included Italian advertisements for Coca-Cola. In 1965, she made her first feature-film appearance in Le sedicenni, although her performance went uncredited.[1] Her American debut came in 1966 in Dr. Goldfoot and the Girl Bombs. Other roles followed; her breakthrough came in 1973's Malizia.[5] She appeared in a number of sex farces such as Till Marriage Do Us Part (1974).
_Laura_Antonelli_(3)_(cropped).png)
She worked in more serious films, as well, including Luchino Visconti's last film, The Innocent (1976).[6] In Wifemistress, a romance film of 1977, she played a repressed wife experiencing a sexual awakening. Later, she appeared in Passion of Love (1981).[7] From 1986 she mostly worked on Italian television series.[8] Antonelli's final film role was in the sequel Malizia 2000 (1991), following which she retired.[9] She won the Italian National Syndicate of Film Journalists Award, Nastro d'Argento, in 1974 for Malizia.
Personal life
[edit]
Antonelli was married to publisher Enrico Piacentini but they divorced.[3] From 1972 to 1980, she was the companion of actor Jean-Paul Belmondo.[10]
On 27 April 1991, cocaine was found during a police raid on Antonelli's home. She was subsequently convicted of possession and dealing and sentenced to house arrest. She spent ten years appealing the conviction, which was eventually overturned.[11] In 2006, the Italian court of appeals ruled in favour of Antonelli and ordered the Ministry of Justice to pay the actress 108,000 euros.[12]
_Laura_Antonelli_(cropped).png)
Antonelli died in Ladispoli on 22 June 2015, aged 73, from a heart attack.[13][14]
Filmography
[edit]| Year | Title | Role | Notes | Ref. |
|---|---|---|---|---|
| 1964 | The Magnificent Cuckold | — | Uncredited appearance Guest with a Beehive Hairdo at the Artusis |
|
| 1965 | 16 Year Olds | |||
| 1966 | Dr. Goldfoot and the Girl Bombs | Rosanna | ||
| 1967 | Pardon, Are You For or Against? | Piera Conforti | ||
| 1968 | La Rivoluzione sessuale | Liliana | ||
| 1969 | Detective Belli | Franca | Uncredited appearance | |
| 1969 | The Archangel | Elena | Uncredited appearance | |
| 1969 | Venus in Furs | Wanda von Dunajew | ||
| 1970 | A Man Called Sledge | Ria | ||
| 1970 | Bali | Daria | ||
| 1970 | Gradiva | Gradiva | ||
| 1971 | The Married Couple of the Year Two | Pauline de Guérandes | ||
| 1971 | Without Apparent Motive | Juliette Vaudreuil | ||
| 1971 | Il merlo maschio | Costanza Vivaldi | ||
| 1972 | The Eroticist | Sister Delicata | ||
| 1972 | Dr. Popaul | Martine Dupont | ||
| 1973 | How Funny Can Sex Be? | Madame Juliette ("Madam, it's eight o'clock") Celestina ("Two hearts and a shack") Enrico's Wife ("It's never too late") Grazia ("Honeymoon trip") Tamara ("Come back my little one") The Nun ("Italian worker abroad") Donna Mimma Maccò ("Revenge") Tiziana ("The guest") |
[15] | |
| 1973 | Malicious (aka Malizia) | Angela | Nastro d'Argento for Best Actress | [16] |
| 1974 | Lovers and Other Relatives | Laura | ||
| 1974 | Simona | Simona | ||
| 1974 | Till Marriage Do Us Part | Eugenia di Maqueda | [17] | |
| 1975 | The Divine Nymph | Manoela Roderighi | ||
| 1976 | The Innocent | Giuliana Hermil | ||
| 1977 | Wifemistress | Antonia De Angelis | ||
| 1977 | Tre scimmie d'oro | |||
| 1977 | Black Journal | Sandra | ||
| 1979 | Tigers in Lipstick | The Wife / The Businesswoman | ||
| 1979 | Hypochondriac | Tonina | ||
| 1979 | Inside Laura Antonelli | |||
| 1980 | I'm Getting a Yacht | Roberta | ||
| 1981 | Passion of Love | Clara | ||
| 1981 | Il turno | Stellina | ||
| 1981 | Chaste and Pure | Rosa Di Maggio | ||
| 1982 | Porca vacca | Mariana | ||
| 1982 | Sesso e volentieri | Carla De Dominicis / Supermarket client / The Princess | ||
| 1982 | Viuuulentemente mia | Anna Tassotti | ||
| 1985 | Slices of Life | Monica Belli | ||
| 1985 | The Trap | Marie Colbert | ||
| 1986 | The Venetian Woman | Angela | ||
| 1986 | Grandi magazzini | Elèna Anzellotti | ||
| 1987 | Rimini Rimini | Noce Bove | ||
| 1987 | Roba da ricchi | Mapi Petruzzelli | Segment II | |
| 1989 | Disperatamente Giulia | Carmen Milkovič | ||
| 1990 | The Miser | Frosina | ||
| 1991 | Malizia 2000 | Angela | final film role |
TV appearances
[edit]- Interlanguage link multi|Gli indifferenti (1988)|it|3=Gli indifferenti (miniserie televisiva)|lt=Gli indifferenti (1988) (miniseries) as Lisa
- Disperatamente Giulia (1989) (miniseries) as Carmen Milkovich
References
[edit]- ^ a b c Lisanti, Tom; Paul, Louis (2002). "Laura Antonelli". Film Fatales: Women in Espionage Films and Television, 1962–1973. McFarland. pp. 44–46. ISBN 978-0-7864-1194-8.
- ^ "Laura Antonelli, Italian Actress and Sex Symbol, Dies at 73". 23 June 2015.
- ^ a b Roberts, Sam (22 June 2015). "Laura Antonelli Dies at 73; Popular, and Seductive, Italian Actress". The New York Times.
- ^ "Laura Antonelli obituary". The Guardian. 15 July 2015.
- ^ "Laura Antonelli: She was the sultry star of Italian sex comedies". The Independent. 8 July 2015.
- ^ "Laura Antonelli obituary". The Guardian. 15 July 2015.
- ^ "Laura Antonelli obituary". The Guardian. 15 July 2015.
- ^ "Laura Antonelli, Italian Actress and Sex Symbol, Dies at 73". 23 June 2015.
- ^ "Laura Antonelli obituary". The Guardian. 15 July 2015.
- ^ Mort de Laura Antonelli, star italienne des années 1970 et ex-femme de Jean-Paul Belmondo AlloCiné; 22 June 2015.
- ^ "Yahoo! Movies: Laura Antonelli". Yahoo!. Retrieved 28 July 2010.
- ^ (in Italian) Laura Antonelli sarà risarcita Troppo lungo il processo per droga La Repubblica. Retrieved 22 June 2015.
- ^ "Laura Antonelli dead". Retrieved 27 June 2015.
- ^ "Lutto nel mondo del cinema: morta Laura Antonelli". Il Piccolo (in Italian). Rome.
- ^ "Film: Comedy:'How Funny Can Sex Be?' Opens at Trans-Lux East". The New York Times. 29 September 1976. Retrieved 6 July 2021.
- ^ "Screen: Lustful Sicilians:Sex Dominates Malice in Comic 'Malizia' The Cast". The New York Times. 6 June 1974. Retrieved 6 July 2021.
- ^ "Screen: Comedy Vehicle For Laura Antonelli:Bette Davis in New TV Movie". The New York Times. 20 July 1979. Retrieved 6 July 2021.
External links
[edit]
Wikimedia Commons has media related to Laura Antonelli.
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Laura Antonelli
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Early Life
Birth and Family Background
Laura Antonelli was born Laura Antonaz on November 28, 1941, in Pola, Istria, then part of the Kingdom of Italy and now known as Pula in Croatia, to ethnic Italian parents Mario Antonaz and Gioconda Bresciani of Istrian heritage.[4][5] Her family's life was upended by the post-World War II border changes enacted through the Paris Peace Treaties of 1947, which transferred Istria from Italy to Yugoslavia, prompting the mass displacement known as the Istrian-Dalmatian exodus that affected hundreds of thousands of ethnic Italians.[1][6] The Antonaz family, like many others, spent time in Italian refugee camps in Venice, Brescia, Milan, and Capodimonte in Naples before relocating to Naples in 1947, when Antonelli was six years old, seeking stability in mainland Italy.[7][8] Upon arrival in Naples, her father secured a position as a hospital administrator, supporting the family's settlement in the bustling port city, while her mother managed the household during this period of adjustment to exile.[3][4] Antonelli's early childhood in Naples was shaped by the post-war recovery of southern Italy, where displaced Istrian families, including her own, preserved cultural ties to their lost homeland amid the region's vibrant artistic and social revival.Education and Initial Aspirations
Following the family's relocation from Pola to Naples after the post-World War II exodus of ethnic Italians from Istria, Antonelli pursued formal education in the city.[7] Initially interested in mathematics and aspiring to become a teacher in that field, she instead trained extensively in rhythmic gymnastics during her teenage years, a discipline her parents encouraged to help her develop grace and overcome her self-described "ugly, clumsy" phase.[7][2] She ultimately graduated as a gymnastics instructor in Naples, setting aside her mathematical ambitions for a path aligned with her proficiency in the physical and performative aspects of the sport, which blended elements of dance and athleticism.[2][7] By her late teens, Antonelli moved to Rome, where she took a position as a secondary-school gym teacher around age 18, though she soon found the role unfulfilling.[2][7] This relocation immersed her in the city's vibrant cultural environment, allowing her to connect with individuals in the entertainment industry through her teaching and emerging side pursuits.[2] In the early 1960s, she began working as a model, appearing in advertisements that highlighted her poised, athletic figure developed from years of gymnastics.[2] These modeling gigs extended to television commercials for products like beverages and bedsheets, providing her first exposure to on-camera performance and sparking an interest in the performing arts as a potential career.[3][7] Antonelli briefly ventured into broadcasting, securing a job as a television announcer in Rome, but was dismissed after just one month due to her delivery being deemed too flat and wooden.[3][9] Undeterred, she returned to modeling and commercials, which further honed her on-screen presence and fueled her aspirations toward more dynamic roles in entertainment.[7] By age 20, these experiences had established her within Rome's entertainment scene, transitioning her physical training background into a foundation for performative work.[2]Career
Entry into Film and Early Roles
Laura Antonelli transitioned into acting in the mid-1960s after a background in modeling and gymnastics, which provided her with the poise and physical presence that caught the attention of filmmakers in Italy's burgeoning cinema scene.[10] Her entry into film began modestly with an uncredited role as a guest with a beehive hairdo in Antonio Pietrangeli's comedy Il magnifico cornuto (The Magnificent Cuckold) in 1964, marking her debut on screen.[10] This was followed by another uncredited appearance in Luigi Petrini's Le sedicenni (The Sixteen-Year-Olds) in 1965, where she played a minor part in a light-hearted coming-of-age story.[2] By 1966, Antonelli secured her first credited role in Mario Bava's spy spoof Dr. Goldfoot and the Girl Bombs, an international co-production where she portrayed the robot woman Rosalba alongside Vincent Price and Fabian, establishing her early association with genre films blending comedy and espionage.[2] This collaboration with Bava, a key figure in Italian genre cinema, highlighted her emerging presence in supporting roles within fast-paced, entertaining productions. Throughout the late 1960s, she appeared in several films, including Scusi, lei è favorevole o contrario? (Excuse Me, Are You for or Against?, 1966) as Piera Conforti and Devil in the Flesh (1969) as Valeria, often as a supporting actress in romantic comedies and period dramas.[4][11] These roles gradually increased her visibility in Italian cinema, positioning her as a fresh face in the industry.[10] As a newcomer, Antonelli faced challenges typical of emerging actresses in 1960s Italian film, particularly typecasting in light-hearted comedies or roles with subtle erotic elements that capitalized on her beauty and modeling background, limiting opportunities for more dramatic parts early on.[2] Despite these constraints, her consistent work in genre films like spy thrillers and farces helped build her reputation, paving the way for greater prominence in the following decade.[10]Breakthrough and Peak Success
Antonelli's breakthrough arrived with the 1973 erotic comedy-drama Malizia, directed by Salvatore Samperi, where she starred as Angela, a seductive housekeeper who becomes the object of desire for a widower and his teenage son.[12] The film's provocative themes and Antonelli's nuanced portrayal of sensuality garnered widespread critical and commercial acclaim in Italy, propelling her to stardom and marking her emergence as a prominent sex symbol in European cinema.[12] Building on this success, Antonelli starred in several key films throughout the 1970s that emphasized sensuality intertwined with dramatic and comedic elements. In Till Marriage Do Us Part (1974), directed by Luigi Comencini, she played a convent-raised Sicilian woman who discovers a shocking family secret on her wedding night, blending erotic tension with farce.[13] Her role in The Divine Nymph (1975), directed by Giuseppe Patroni Griffi and adapted from a Gabriele D'Annunzio novel, explored themes of desire and aristocracy through her character Mineo, a woman navigating passionate entanglements. Antonelli delivered a critically praised performance as the enigmatic Giuliana Hermil in Luchino Visconti's The Innocent (1976), a psychological drama delving into adultery and moral ambiguity. She further showcased her versatility in Wifemistress (1977), directed by Marco Vicario, portraying a woman juggling roles as wife, lover, and mother in a satirical take on domestic life. Antonelli's rising fame extended internationally, particularly through French-Italian co-productions where she collaborated with major stars. She co-starred with Jean-Paul Belmondo in Claude Chabrol's black comedy Docteur Popaul (1972), playing a alluring figure in a tale of deception and infidelity, which helped introduce her to broader European audiences.[14] Additional cross-border projects, such as Les Mariés de l'an Deux (1971) alongside Belmondo, reinforced her appeal in romantic and adventurous genres beyond Italy.[15] At the peak of her career in the 1970s, Antonelli appeared in 15 to 20 films, establishing herself as a leading lady in erotic dramas and romantic comedies that captivated audiences with her blend of beauty and emotional depth.[4] This prolific output, often highlighting themes of forbidden desire and social taboos, cemented her status as an iconic figure in Italian cinema during the decade.[12]Later Career and Retirement
In the 1980s, Laura Antonelli's career began to evolve from the comedic and erotic roles that defined her earlier success, incorporating more dramatic elements as she collaborated with esteemed directors. A notable example was her portrayal of Clara, the elegant lover in Ettore Scola's Passione d'amore (1981), an adaptation of Igino Ugo Tarchetti's novel Fosca, where she embodied a character caught in a complex web of passion and duty set against 19th-century Italy.[16] This film marked a departure toward deeper emotional narratives, contrasting with her breakthrough sensual comedies like Malizia (1973). By mid-decade, Antonelli appeared in Mauro Bolognini's La venexiana (1986), internationally known as The Venetian Woman, playing Angela, a widowed noblewoman exploring desire in Renaissance Venice alongside co-stars Monica Guerritore and Jason Connery; the erotic historical drama highlighted her continued allure but within a more stylized, period framework.[17] As the decade progressed, Antonelli reduced her film commitments and transitioned to television, appearing primarily in Italian miniseries and series that allowed for less intensive production schedules. From 1986 onward, her work shifted to this medium, reflecting broader industry trends toward serialized content amid the growing influence of home video, which diminished opportunities for theatrical sex comedies.[18] This move enabled her to maintain visibility while scaling back from the demands of feature films. Antonelli's final cinematic role came in Malizia 2000 (1991), a sequel to her iconic Malizia, where she reprised a similar provocative character in a modernized context, but the project underperformed at the box office. At age 50, she retired from acting shortly thereafter, citing the changing landscape of Italian cinema—marked by the rise of video distribution and a decline in roles suited to her established persona—as a key factor, alongside her growing preference for a private life away from public scrutiny.[19] She declined subsequent offers, including high-profile proposals from international producers, embracing anonymity in her later years.[20]Personal Life
Marriages and Relationships
Laura Antonelli married Italian publisher Enrico Piacentini in the early 1970s, a union that provided personal support during the initial phases of her acting career when she faced challenges with roles involving nudity.[7] The marriage was kept private, but it ended in divorce shortly after Antonelli developed feelings for French actor Jean-Paul Belmondo while working on films together.[7] From 1971 to 1980, Antonelli was in a high-profile relationship with Belmondo, which began on the set of the film The Scoundrel (Les Mariés de l'An Deux) and continued through collaborations like Dr. Popaul (1972).[2][1] Their romance, marked by intense passion and occasional conflicts due to their strong personalities, drew significant media attention across Europe, often portraying Antonelli as the epitome of glamorous sensuality alongside Belmondo's charismatic bravado.[7][2] Belmondo later reflected on her as an "adorable companion, of exceptional charm," highlighting the enduring affection despite the relationship's turbulent end.[1] These partnerships significantly shaped Antonelli's public image as a seductive icon of 1970s cinema, amplifying her allure in both Italian and international contexts through tabloid coverage and on-screen pairings that blended romance with her established sex symbol status.[2][1]Legal Challenges
In 1991, Laura Antonelli faced significant legal troubles when police raided her villa in Cerveteri, near Rome, on the night of April 27, discovering 36 grams of cocaine.[21] She was arrested and briefly detained in Rome's Rebibbia prison before being released on bail.[21] The incident sparked a media frenzy in Italy and internationally, with tabloids sensationalizing the scandal involving the former sex symbol, amplifying public scrutiny during a period when her career was already waning.[1] Antonelli was initially convicted in absentia of cocaine possession and dealing, receiving a three-and-a-half-year sentence that was served under house arrest rather than imprisonment.[21] She appealed the verdict, arguing the drugs were for personal use as a habitual consumer, not for distribution. In 2000, Rome's Court of Appeals acquitted her on the dealing charge, upholding only the possession aspect but reducing the implications significantly.[21][22] The legal battle extended further due to procedural irregularities in the trial process. In 2006, the Italian Court of Appeals ruled in her favor on the appeal against the conviction's handling, citing flaws such as the in-absentia proceedings, and ordered the Ministry of Justice to pay her €108,000 in compensation for damages suffered.[23][1] The ordeal had profound long-term effects, effectively halting Antonelli's acting career as she withdrew from public life shortly after her last film in 1991, leading to financial hardship and a tarnished public image that overshadowed her earlier successes during retirement.[23][1]Health Issues and Death
Following the overturning of her cocaine dealing conviction in 2000—with the possession charge upheld as personal use but with reduced penalties—Antonelli withdrew from public life and retired to a reclusive existence in Ladispoli, a seaside town near Rome, Italy.[21][1] She spent her final decades in seclusion at a modest villa, turning to religion for solace and largely avoiding contact with the outside world due to profound solitude.[2] In the 2000s, Antonelli grappled with severe depression and physical decline stemming from the emotional toll of her legal ordeal, compounded by an allergic reaction to cosmetic surgery that disfigured her face and deepened her withdrawal from society.[2] By 2009, her financial situation had worsened to the point where she resided in modest housing provided by Ladispoli's social services, having refused additional government aid intended for artists.[1] Antonelli died of a heart attack on June 22, 2015, at the age of 73, in her home in Ladispoli; her housekeeper discovered her body that morning.[3] She had no children, and her passing was mourned privately by her surviving brother and close family members.[23] Her funeral took place on June 26, 2015, at the Santa Maria del Carmine church in Ladispoli, attended by family and a small number of admirers.[24]Legacy
Awards and Critical Recognition
Laura Antonelli's breakthrough role in Malizia (1973) garnered her the Nastro d'Argento for Best Actress in 1974, an honor bestowed by the Italian National Syndicate of Film Journalists for her portrayal of a seductive housekeeper navigating complex family dynamics. She also received the Golden Globe (Italy) for Best Breakthrough Actress that year for the same film.[25] She later received the David di Donatello for Best Supporting Actress in 1981 (shared with others) for her performance in Ettore Scola's Passione d'amore, where she embodied a figure of quiet emotional depth amid romantic turmoil. Additionally, she won the Nastro d'Argento for Best Supporting Actress in 1980 for La terrazza.[26] In the 1970s, Antonelli's rising prominence led to appearances at key international events, such as the 1974 Cannes Film Festival, where she attended alongside Jean-Paul Belmondo during promotions for Stavisky.[27] Critics frequently lauded Antonelli's performances for merging overt sensuality with underlying vulnerability, a quality particularly evident in Luchino Visconti's The Innocent (1976), in which her depiction of the tormented wife Giuliana was noted for its erotic rapture.[28]Cultural Impact and Tributes
Laura Antonelli emerged as an enduring icon of 1970s Italian erotic cinema, embodying a blend of sensuality and vulnerability that shaped portrayals of female sexuality in European films during the era's sexual liberation. Her roles in films like Malizia (1973) and The Innocent (1976) exemplified the commedia sexy all'italiana genre, where she often navigated themes of desire and objectification, influencing subsequent depictions by highlighting the tension between erotic allure and emotional depth in post-war Italian narratives.[1][2][29] In popular culture, Antonelli's status as a sex symbol placed her alongside luminaries like Sophia Loren, symbolizing Italy's cinematic allure and the era's fascination with Mediterranean femininity. Her image has been referenced in modern media, including film discussions and retrospectives that evoke her as a benchmark for erotic elegance, as seen in contemporary analyses of Visconti's works where her performances continue to inspire erotic attraction in new cinematic contexts.[30][31] Following her death from a heart attack on June 22, 2015, at age 73, Antonelli received widespread tributes in major publications, underscoring her 45-film career and role as a seductive force in Italian cinema. The New York Times obituary praised her transformation from a self-described "ugly, clumsy" teenager to a leading seductive actress, while Variety highlighted her work with directors like Luchino Visconti and her embodiment of 1970s sex-symbol status. The Guardian similarly lauded her as a prima donna of commedia all'italiana, noting how her scantily clad roles invited the male gaze amid evolving feminist critiques.[3][1][2] Despite her prominence, gaps persist in scholarly coverage, with limited analysis of her Istrian roots—born in Pola (now Pula, Croatia) to an Italian family that fled post-World War II—and potential feminist reinterpretations of her roles as sites of agency amid objectification. Biographical accounts acknowledge her heritage as part of the Istrian exodus, yet deeper cultural examinations remain scarce, as do studies reframing her erotic personas through contemporary gender lenses.[32][2]Works
Film Roles
Laura Antonelli's film career spanned 45 feature films from 1964 to 1991, during which she often portrayed sensual, complex female characters in Italian cinema. The following table provides a chronological overview of her roles, including original titles, English translations where applicable, directors, and character names. Key roles are annotated for significance, such as leading performances that highlighted her dramatic range. This filmography excludes television productions and focuses solely on theatrical releases.[4][33]| Year | Title (Original/English) | Director | Role | Notes |
|---|---|---|---|---|
| 1964 | Le sedicenni | Antonio Racioppi | Maria | Minor debut role in anthology comedy. |
| 1965 | Letti selvaggi | Gino Harker | Unknown | Supporting part in erotic comedy anthology. |
| 1966 | Le spie vengono dal semifreddo (Dr. Goldfoot and the Girl Bombs) | Mario Bava | Rosanna | Early spy spoof role. |
| 1967 | Il magnifico cornuto (The Magnificent Cuckold) | Antonio Pietrangeli | Lorenza | Supporting in satirical comedy. |
| 1969 | Il diavolo nel cervello (Devil in the Brain) | Roberto Lefebvre | Wanda | Dramatic supporting role. |
| 1970 | Un uomo chiamato Sledge (A Man Called Sledge) | Vic Morrow | Ria | Western appearance. |
| 1970 | All'onorevole piacciono le donne (The Eroticist) | Lucio Fulci | Ersilia D'Angelo | Comedic role opposite Tognazzi. |
| 1971 | Sans mobile apparent (Without Apparent Motive) | Philippe Labro | Jacqueline | French thriller supporting. |
| 1971 | Il merlo maschio (The Eroticist) | Pasquale Festa Campanile | Costanza Vivaldi | Satirical lead. |
| 1973 | Malizia (Malicious) | Salvatore Samperi | Angela | Breakthrough lead as a seductive housekeeper; international release as Malicious. |
| 1973 | Sessomatto (How Funny Can Sex Be?) | Dino Risi | Multiple characters | Anthology segments showcasing versatility. |
| 1973 | Peccato veniale (Lovers and Other Relatives) | Salvatore Samperi | Sandra | Lead in family comedy-drama. |
| 1974 | Mio marito è una carogna (Till Marriage Do Us Part) | Luigi Comencini | Eugenia Di Maqueda | Satirical lead. |
| 1974 | Divina creatura (The Divine Nymph) | Giuseppe Patroni Griffi | Laura | Key lead role as an enigmatic socialite; noted for erotic undertones and her dramatic peak. |
| 1974 | I guappi (Blood Brothers) | Pasquale Squitieri | Francesca | Supporting in crime drama. |
| 1975 | La Cage (The Cage) | Pierre Granier-Deferre | Marie | French production; role as trapped wife. |
| 1976 | L'innocente (The Innocent) | Luchino Visconti | Giuliana Hermil | Pivotal lead opposite Giancarlo Giannini; adaptation of D'Annunzio novel, earning critical acclaim for her portrayal of a tormented woman. |
| 1977 | Mogliamante (Wifemistress) | Marco Vicario | Antonia | Dual role as wife and mistress in romantic comedy. |
| 1979 | I viaggiatori della sera (Travelling Companions) | Marcello Lupo | Maria | Supporting in drama. |
| 1979 | L'ingorgo (Traffic Jam) | Luigi Comencini | Lia | Ensemble role in social satire. |
| 1980 | La locandiera | Piero Regnoli | Mirandolina | Lead in Goldoni adaptation. |
| 1981 | Passione d'amore (Passion of Love) | Ettore Scola | Clara | Lead as the object of obsession; based on Igino Ugo Tarchetti novel, international release. |
| 1981 | Scusi lei è favorevole o contrario? | Alberto Sordi | Elena | Comedic supporting. |
| 1983 | Fatto di sangue fra due uomini per causa di una vedova, si sospettano gli innocenti (Blood Feud) | Damiano Damiani | Susanna | Lead in political drama. |
| 1984 | Rimini Rimini | Bruno Corbucci | Noce | Lead in resort comedy. |
| 1985 | Roba da ricchi (Stuff for the Rich) | Sergio Corbucci | Marie Colbert | Satirical lead as socialite. |
| 1986 | La donna veneziana (The Venetian Woman) | Mauro Bolognini | Valentina | Lead in period drama based on D'Annunzio. |
| 1986 | Grandi magazzini (Department Store) | Castellano & Pipolo | Silvana | Ensemble comedy role. |
| 1987 | L'avaro (The Miser) | Tonino Cervi | Frosina | Molière adaptation lead. |
| 1987 | Rimini Rimini - Un anno dopo | Bruno Corbucci | Noce | Sequel lead. |
| 1990 | Puro sangue | Lorenzo Doumani | Unknown | Supporting. |
| 1991 | Malizia 2000 | Giuseppe Ferrara | Angela | Final film role; sequel to Malizia. |