Angiolino Giuseppe Pasquale Ventura was an Italian actor who grew up in France and starred in many French films. Born in Italy, he was raised in Paris by his Italian mother. After a first career as a professional wrestler was ended by injury, he was offered a part as a gang boss in the Jacques Becker film Touchez pas au grisbi and rapidly became one of France's favourite film actors, playing opposite many other great stars such as Bourvil, Jean Gabin, Alain Delon, Claude Rich, Bernard Blier, Jacques Brel, Michel Serrault, Jean-Paul Belmondo, and working with other leading directors such as Louis Malle, Claude Sautet, Claude Miller, and the great script writer Michel Audiard. Usually portraying a tough man, either a criminal or a cop, he also featured as a leader of the Resistance in the Jean-Pierre Melville directed Army of Shadows. Having a daughter born handicapped, he and his wife founded a charity Perce-Neige which aids disabled children and their parents. Though he never renounced his Italian citizenship, he was voted 23rd in a poll for the 100 greatest Frenchmen.
Life and career
Early life
Born in Parma, Emilia-Romagna, Italy to Giovanni Ventura and Luisa Borrini, who moved to France soon thereafter, Lino dropped out of school at the age of eight and later took on a variety of jobs. At one point Ventura was pursuing a prizefighting and professional wrestling career but had to end it because of an injury.
Early roles
In 1953, by chance, one of his friends mentioned him to Jacques Becker who was looking for an Italian actor to play opposite Jean Gabin in a gangster movie called Touchez pas au grisbi. Becker offered him on the spot the role of Angelo, which Ventura refused at first but then accepted. He had such a presence in the film that the whole profession took notice. The film was a big success. Ventura started to build up an acting career in similar hard-boiled gangster films, often playing beside his friend Jean Gabin, including his second film, Razzia sur la chnouf. He followed it with Law of the Streets, Crime and Punishment with Gabin.
Later career
Some of his most famous roles include the portrait of corrupt police chiefTiger Brown in The Threepenny Opera and mob boss Vito Genovese in The Valachi Papers. Although he remained an Italian citizen throughout his life and long used to seeing himself dubbed into Italian from the original French release, he only made a handful of films in his native language, among them The Last Judgement, Illustrious Corpses and Cento Giorni a Palermo. Ventura remained active until the year before his death from a heart attack in 1987 at the age of 68. Having a disabled daughter himself, he created a charitable foundation, Perce-Neige in 1966, which supports disabled people. Throughout his career, he was one of the most popular actors of French cinema. He spoke French without any accent and spoke Italian with a slight French accent, having arrived in France at the age of seven. Forcibly conscripted into the Italian army during the Second World War, he deserted. But, although his wife and four children were French, he never wanted to give up Italian citizenship, out of respect for his parents. Despite this, he was ranked 23rd of the 100 greatest Frenchmen, 17 years after his death. Somewhat paradoxically, Ventura attributed his great success to his limited range as an actor; and often said "If I cannot believe in a character, or if something does not ring true, I cannot act it." In a 1980 interview he said that the previous year "I began to realize how incredibly lucky I had been since the age of 9, how much I had been loved by so many people. When I act, I am doing what I love, and I am paid for it. So I put myself in the service of the film, never the film in service to me." He mentioned he turned down several roles - a part in Apocalypse Now, a role in a Robert Aldrich film and the part played by François Truffaut in Close Encounters of the Third Kind. He said, "The story is everything. My good friend Jean Gabin told me 25 years ago there are three important things in movies: the story, the story and the story." "I have limitations," he said. "I have no training; I could not do the classics. What I can do is myself. And I like best not to talk at all... I study the script, and then try to become the character. That is very mysterious, how that happens. I cannot explain it. There are so many mysteries in cinema, the way everything must interlock, that when you think of it all, you never want to make a film."
