Ugo Tognazzi is a topic that has captured the attention of millions of people around the world. Since its emergence, it has aroused great interest and has been the subject of numerous debates and discussions. In this article, we will thoroughly explore the most relevant aspects related to Ugo Tognazzi, from its origin to its implications today. We will analyze its impact on society, its evolution over time and possible future perspectives. In addition, we will examine the various opinions and points of view of experts on the subject, with the aim of providing a comprehensive and detailed vision that allows our readers to fully understand the importance and relevance of Ugo Tognazzi today.
Tognazzi was born in Cremona, in northern Italy but spent his youth in various localities as his father was a travelling clerk for an insurance company.[7]
After his return to his native city in 1936, he worked in a cured meats production plant where he achieved the position of accountant. During World War II, he was inducted into the Army and returned home after the Armistice of 8 September 1943, and joined the Black Brigades for a while. His passion for theater and acting dates from his early years, and also during the conflict he organized shows for his fellow soldiers. In 1945, he moved to Milan, where he was enrolled in the theatrical company led by Wanda Osiris. A few years later, he formed his own successful musical revue company.
Career
In 1950, Tognazzi made his cinematic debut in The Cadets of Gascony directed by Mario Mattoli.[8] The following year, he met Raimondo Vianello, with whom he formed a successful comedy duo for the new-born RAI TV (1954–1960).[3] Their shows, sometimes containing satirical material, were among the first to be censored on Italian television.
He was a well-known actor in Italy, and starred in several important international films, which brought him fame in other parts of the world.
Roger Vadim cast Tognazzi as Mark Hand, the Catchman, in Barbarella (1968). He rescues Barbarella (Jane Fonda) from the biting dolls she encounters, and after her rescue, he requests payment by asking her to make love with him (the "old-fashioned" way, not the psycho-cardiopathic way of their future).
Tognazzi had various relationships during his life, being married to actresses Margarete Robsahm and later Franca Bettoia. He had four children from three different women: his sons Ricky Tognazzi (b. 1955) and Gianmarco Tognazzi (b. 1967) are actors; another son, Thomas Robsahm (b. 1964), is a Norwegian film director and producer; his daughter, Maria Sole Tognazzi (b. 1971), is also a film director.
Ugo Tognazzi died of a brain hemorrhage in Rome in 1990, although there were rumors that his chronic depression led to suicide.[3] He is buried in the cemetery of Velletri.
I mostri (1963) as The Father (segment "L'Educazione sentimentale"); Policeman (segment "Il Mostro"); Stefano (segment "Come un Padre"); Battacchi (segment "Il povero Soldato"); L'Onorevole (segment "La Giornata dell'Onorevole"); Latin Lover (segment "Latin Lovers-Amanti latini"); Pilade Fioravanti (segment "Testimone volontario"); The Traffic Warden (segment "L'Agguato"); The Car Owner (segment "Vernissage"); The Man at Cinema (segment "Scenda l'Oblio"); The Husband (segment "L'Oppio dei Popoli"); Guarnacci (segment "La nobile Arte")