Mimsy Farmer on the set of 4 mosche di velluto grigio (1971)
Mimsy Farmer was born February 28, 1945 in Chicago, Illinois (USA). Her parents, Suzette and Arch Farmer, are journalists at the Chicago Tribune. At the age of four she moved to Hollywood, where her father got a job at a television advertising agency. After leaving the new job, the couple founded a company for the sale of candles, paper flowers and costume jewelery, made by them, the "Suzette's candles".
At 16 years old, while attending Hollywood High, Mimsy is noticed by a movie agent who launches her in some films for the small screen. In 1963 she took part in her first feature film: Spencer's Mountain, with Henry Fonda, directed by Delmer Daves, a director who urges her to lose weight, considering her a bit too fleshy for the part.
Than, she starts taking acting lessons and gets other small roles in TV movies, frequently interpreting the prototype of the "bad girl". In the meantime, she begins to harbor a sort of deep dissatisfaction with herself for the kind of cinema that is offered to her, and which she considers intimately insignificant.
At the age of 19, she marries the stunt-man Wes Harvey, but after just two years she decides to separate, to put aside the film career and goes to Vancouver (Canada) to be involved as a staff member in an LSD experimentation produced by Al Hubbard, an eccentric and enigmatic American millionaire, at the Hollywood Hospital, a private facility in New Westminster that treated alcoholism and psychological disorders. Here the LSD was given in an environment controlled and supervised by trained hospital staff who had themselves tried the drug: while tripping on acid, patients listened to classical music in a room adorned with a reproduction of Dali’s Crucifixion.
After this extreme experience, she returns to homeland and resumes her cinematographic career with the film The Wild Racers (1968) by Daniel Haller, on whose set she meets the French producer Pierre Cottrell who takes her to Europe and presents her to the director Barbet Schroeder. This is how she becomes the protagonist of the scandal film More (1969). The movie, for which the actress also takes care of the dialogues and deals with very daring themes for the time, such as drugs and sex, gives her an immediate and resounding success.
During a vacation in Italy, she meets her future husband, the writer and screenwriter Vincenzo Cerami, with whom she will stage for years a series of shows and operas in various Italian theaters, and from whose union in 1970 her daughter Aisha was born. In the same year she participated in the Visconti film Michel Strogoff, corriere dello zar, and the road movie Road to Salina by Georges Lautner. Both films prove to be good successes.
Particularly apt is the subsequent engage for the film 4 mosche di velluto grigio (1971) by Dario Argento, where she succeeds in giving her character of Nina a great veracity, not only thanks to the developed acting skills, but also thanks to the experiences gained in psychiatric field.
As a result of these successes, she received numerous writings: she took part in arthouse films such as Majstor i Margarita (1972) by the Russian Aleksandar Petrović and Allonsanfàn (1974) by the Taviani brothers, with whom she meant immediately, also being herself, like them, politically committed and registered with the Communist Party.
Later, she works mainly in many genre films, where she often plays borderline characters. Among these are: Il profumo della signora in nero (1974) by Francesco Barilli, Macchie solari (1975) by Armando Crispino, La traque (1975) by Serge Leroy.
Among her last starring roles, must be mentioned Lucio Fulci's horror film Il gatto nero (1981), Arcobaleno selvaggio (1984) by Antonio Margheriti and the horror film Camping del terrore (1987) by Ruggero Deodato.
After the divorce from Cerami in 1986, from 1992 she settled in France, where she worked on TV, remarried and brought her daughter Aisha (also an actress) to live with. Her last film appearance is recorded in the TV movie Safari by Roger Vadim.
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