franco Nero at 83: A Legacy Forged in Spaghetti Westerns and Enduring Cinema
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At 83,Italian actor Franco Nero remains a vibrant force in cinema,boasting a career spanning seven decades and over 280 films.Recently premiering at the Venice Film Festival in Julian Schnabel’s In the Hand of Dante, Nero reflects on a life steeped in iconic roles, turbulent relationships, and a changing industry – one he believes has lost its way.
from Accounting to accolades: A Fortuitous Finding
Nero’s path to stardom was hardly conventional.After initially studying accounting, a chance encounter with photographer friends led to portraits that caught the eye of director John Huston. As Nero recounts, the audition was…unconventional. “Come, boy, come,” he recalls Huston saying, before requesting he undress in front of a room full of women. This bold introduction led to his debut in The Bible… in its Beginning (1966), a role that launched his career and a mentorship with Huston, who taught him english and later recommended him for Camelot.
The Birth of a Legend: Django and the Spaghetti Western
It was Sergio Corbucci’s 1966 Django that cemented Nero’s status as a cinematic icon. Corbucci famously declared, “John ford has John Wayne, Sergio Leone has Clint Eastwood and I have Franco Nero.” The film, a violent and groundbreaking entry into the burgeoning spaghetti western genre, was a sensation – even being banned in the United Kingdom for its extreme content. “Yes, I became very, very famous,” Nero affirms, recalling the moment as a turning point. Django not only provided Nero’s first leading role but also propelled Corbucci to prominence.
A Global Star and a Shifting Landscape
Throughout the late 1960s and 70s,Nero became an international star,appearing in westerns and poliziotteschi – Italian crime films that explored the violence and social unrest of the era.He recalls a conversation with the Spanish actor Fernando Rey, who observed that people may have the television on, but they aren’t truly watching.
Buñuel and the Art of Cinema
nero fondly remembers his collaborations with the legendary Luis Buñuel, notably on Tristana (1970) and The Monk (1972). He recounts Buñuel’s eccentricities, like insisting Nero bring him Fernet-Branca, an Italian amaro, to set. One memorable anecdote involves a frantic search for Buñuel’s suitcase during filming in Toledo, only to discover it contained a Serrano ham sandwich, a Coca-Cola, and a bottle of wine. “No, no, go away, I’m hungry,” buñuel reportedly said, “If they see me eat, everyone will want to eat… and they only want me to work, they don’t want me to eat.” Nero emphasizes Buñuel’s unique ability to impose his vision, recalling how the director insisted Nero be cast in The Monk despite initial resistance from French producers.
A Career Without Borders and a Future Undecided
With films made in 35 countries and in numerous languages, Nero embodies a truly international approach to cinema. He is currently considering a project in Bulgaria, demonstrating his continued curiosity and willingness to embrace new challenges. While he has directed two films, including the controversial The Man Who Drew God (2022) – which featured Kevin spacey in a supporting role – he remains focused on acting. He acknowledges the difficulties of securing financing for directing projects.
Despite his age, Nero shows no signs of slowing down. He remains passionate about cinema, lamenting the loss of “real cinema” – a time when co-productions fostered creativity and artistic integrity. As he reflects on a remarkable career, Nero remains a testament to the enduring power of storytelling and the magic of the silver screen. He’s happy, he says, and has nothing left pending. Well,almost nothing.
