Tina Aumont in I corpi presentano tracce di violenza carnale (1973)
Marie Christina Aumont, known as Tina, was born February 14, 1946 in Hollywood, California (US) from the love of the actors Maria Montez and Jean-Pierre Aumont.
When she is just five years old, the little Tina found her mother dead from a heart attack in the bathtub. Her father - no one knows why - hides the incident from her, while she knows the truth only many years later. This fact will mark much of her troubled existence - she will also devote himself to vodoo and spiritism in the vain hope of communicating with the deceased.
In 1956 her father married in second marriage with the Italian actress Marisa Pavan and sent her to boarding school in Switzerland. At only 17 years of age, Tina married the famous French libertine actor and director Christian Marquand, of 36, in a family residence in Provence. He says about her: «She can't cook two hard-boiled eggs, but I like it that way».
Very similar to her mother, with deep, big and black eyes, framed by two thick eyebrows, willowy (1.76 cm), gifted with the charm of the girl next door and the full and harmonious forms of a playmate, Tina can enter easy in the cinema and her father takes care of it. In New York, she has Stella Adler's acting classes and later she introduces her to the British director Joseph Losey, who directs her in the film: Modesty Blaise (1966), a film in which Tina pretends to know how to ride a motorcycle, but at the first, it crashes into a wall. For the occasion, as a pseudonym she uses the abbreviation of her name (Tina) and the surname of the husband (Marquand).
For the second film, it's her husband who proposes Tina to a friend of him, the French director Roger Vadim, for La Curée (1966). Following this experience, she is invited to shoot the film Texas Across the River by Michael Gordon in Hollywood, with Dean Martin and Alain Delon. The period of separation from her husband, in addition to an abortion of which he considers her the responsible, are among the causes of their divorce, which will take place in the same year.
Meanwhile, she meets and falls in love with the dandy painter Frédéric Pardo. The couple go to live together for some time in Paris, in a psychedelic furnished apartment, without tables and chairs, but with Moroccan rugs and cushions, in "oriental style". This place will become the living room of many artists of the period, such as Anita Pallenberg (companion of Keith Richards), actor Pierre Clémenti, Zouzou (French model and singer), Viva (one of the stars promoted by Andy Warhol). They also knows Jimi Hendrix.
Meanwhile, her film career begins to take off. While she is at the Taormina festival to promote the film La calda presa, she meets Alberto Sordi, that writes a part for her in Scusi, lei è favorevole o contrario? (1966). And the doors of Italian cinema are so open. She decides to live with Pardo in Rome, settling in Campo de 'Fiori.
Having obtained a divorce from Marquand, she adopts her father's surname and with the pseudonym of Tina Aumont interprets several films: L’uomo, l’orgoglio, la vendetta (1967) by Luigi Bazzoni - with which he will repeat in 73 in Blu Gang e vissero per sempre felici e ammazzati, the unfortunate Satyricon (1969) by Gian Luigi Polidoro, Metello (1970) by Mauro Bolognini, Corbari (1970) by Valentino Orsini and L'urlo (1970) by Tinto Brass, director with whom she will also work in Salon Kitty (1976).
She also took part in L’alibi (1969) where she lost her head for Vittorio Gassman, who, also because of her, left with the French actress Juliette Maynel, known in 64 and mother of his son Alessandro.
Revolutionary and unconventional, in 1971 she was one of the 343 women who risked being arrested, signing the "Manifesto of the 343s" in France, declaring that they had an abortion and requesting the decriminalization of the crime. In 1972 she separated from Pardo, after leaving him, to go alone on vacation to Bali. In the Seventies she alternates important productions with minor films, refusing practically no one work. Her is not a great talent, but she possesses charm and charisma, and these are enough. She interprets auteur films (Fatti di gente per bene - 1974 by Bolognini, Il Casanova di Federico Fellini - 1976 by Fellini, Nina - 1976 by Vincente Minnelli, Cadaveri eccellenti - 1976 by Francesco Rosi), which genre film (Il sergente Klems - 1971, by Sergio Grieco, Racconti proibiti… di niente vestiti - 1972 by Brunello Rondi, I corpi presentano tracce di violenza carnale - 1973 by Sergio Martino, Malizia - 1973 by Salvatore Samperi, Il trafficone - 1974 by Bruno Corbucci), accepting roles even decidedly erotics in the films La principessa nuda (1976) by Cesare Canevari, Il patto col diavolo (1975) by Sandy Whitelaw and in Arcana (1972) by Giulio Questi, yet another erotic film that suffers heavy censorship for sex scenes, mainly due to the incestuous theme.
She also appears on the well-known monthly "Playboy" (USA) (July 1969), "Playboy" (Italy, January 77) and "Playmen" (n.11 of November 70 with central page and on the cover in n. 9 of September 1976).
Of all the cinematic experiences, the one with Fellini is the one that rewards her most. In an interview of 76 she declared: «I was one of the women of the Casanova Fellini: a wonderful experience, which reconciled me with the job of actress, with the world of cinema. A truly unrepeatable experience, my artistic peak. I almost feel like quitting, thinking that from now on you won't be able to combine anything more, nothing better... ». She doesn't know how prophetic her words are.
In 1978 she successfully landed on Italian television in an important drama, Il passatore, but at the same time a bad news happened. Hemp smoker since her arrival in Italy, she slips inexorably towards addiction to hard drugs. Having gone to Thailand for a holiday, she sent to her companion in Italy, the director Fabrizio Lori, four ounces of opium hidden in some oriental statues depicting the Buddha. But these are intercepted by the police. «He is no longer my girlfriend, she sent me the drugs without telling me»: these are the words of Lori released to the newspapers after his arrest. In order to avoid imprisonment, the actress decides not to return to Italy, and from Bangkok she shelters in France, thus being sentenced to three years in absentia. With this scandal, her cinematographic career collapses inexorably.
At the end of the decade, she became the protagonist of the excesses of the Parisian night, made of cocaine and champagne, habitually attending the night "Le Palace". Meanwhile, she sells the stories of her rise and fall to magazines like "France Soir" and in 1981 the French heroinomanian journalist Alain Pacadis attempts to commit suicide in her apartment.
In the eighties she played only a few second-rate French films, in mostly marginal roles. Among these is Les Frères Petard (1986), a story set in the world of Parisian nightlife, in which Pacadis is also present.
Tired and consumed by excesses, in those years she found work posing for some spicy photo shoots, both in the monthly "Playmen" (on the cover in July 7, 1984) and in the Italian pornographic weekly "Le Ore" (N. 956 of 22-1-86 , N. 962 of 5-3-86, N. 963 of 12-3-86, N. 964 of 19-3-86, special of 27-1-87).
Her latest film interpretations are made in the French erotic films Les deux orphelines vampires (1997) by Jean Rollin, Giulia (1999) by Roy Stuart and La mécanique des femmes (2000) by Jérôme de Missolz.
Without money and with the inheritance of her father vanished into the hands of the stepmother, she is reduced to living in a tiny apartment located in a modest Parisian neighborhood full of penniless immigrants, and with the rent paid by the city's social services.
At the age of 60, October 28, 2006, she died prematurely due to pulmonary embolism. Former partner Pardo had died the year before. For a long time she was carrying with him breathing problems but, despite everything, she still enjoyed a youthful appearance.
She spent the last years of her life in Port-Vendres, near the border with Catalonia. She was buried in the Montparnasse cemetery in Paris, next to her mother.
In 1985 she was immortalized by the French director Gérard Courant, famous for her film-less portraits, then included in the Cinématon project (here the video).
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