Actress. Favored by her physical beauty, between 1938 and 1943 she was one of the most attractive female figures in Italian cinema. Among her memorable interpretations are particularly remembered those in films such as "La cena delle beffe" (1941), "Addio Gioventù!" (1941) and, above all, of "Ossessione" (1942), where, under the direction of Luchino Visconti, Calamai revealed her maturity as an actress in a character of a sensual and selfish woman, conceived outside the romantic canons still in vogue at the time. Among the her following films are noteworthy, "Addio, amore" (1944) and "Enrico IV" (1944), while in the postwar period "L'adultera", for which he won the Silver Ribbon of film critics for best female interpretation and the "Carne inquieta". Among her most significant last appearances, a role in "Romanticismo" (1951), in which she was the conspiratorial pharmacist's wife. Later she returned only sporadically on the screen, memorable remains the brief but intense interpretation of the role of the woman of the street in "Le notti bianche" (1957), by Visconti. Her last appearance was in Dario Argento's "Profondo Rosso" (1975), as an elderly killer actress dressed in black.
Actress. Favored by her physical beauty, between 1938 and 1943 she was one of the most attractive female figures in Italian cinema. Among her memorable interpretations are particularly remembered those in films such as "La cena delle beffe" (1941), "Addio Gioventù!" (1941) and, above all, of "Ossessione" (1942), where, under the direction of Luchino Visconti, Calamai revealed her maturity as an actress in a character of a sensual and selfish woman, conceived outside the romantic canons still in vogue at the time. Among the her following films are noteworthy, "Addio, amore" (1944) and "Enrico IV" (1944), while in the postwar period "L'adultera", for which he won the Silver Ribbon of film critics for best female interpretation and the "Carne inquieta". Among her most significant last appearances, a role in "Romanticismo" (1951), in which she was the conspiratorial pharmacist's wife. Later she returned only sporadically on the screen, memorable remains the brief but intense interpretation of the role of the woman of the street in "Le notti bianche" (1957), by Visconti. Her last appearance was in Dario Argento's "Profondo Rosso" (1975), as an elderly killer actress dressed in black.
Bio by: Ruggero
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