The world of cinema mourns the loss of Claudia Cardinale, the Tunisian-born Italian actress whose beauty, talent, and indomitable spirit made her one of the most iconic stars of the 20th century. Cardinale passed away on September 23, 2025, at the age of 87 in Nemours, near Paris, France, surrounded by her children. With a career spanning over six decades and more than 130 films, she captivated audiences with her sultry gaze, husky voice, and versatile performances. This article celebrates her extraordinary life, her contributions to cinema, and the legacy of a woman who embodied strength, grace, and authenticity.
Born Claude Joséphine Rose Cardinale on April 15, 1938, in La Goulette, Tunisia, to Sicilian-Italian parents, Cardinale grew up in a vibrant, multicultural environment, speaking French, Tunisian Arabic, and Sicilian. She initially dreamed of becoming a teacher, but fate intervened when she won the “Most Beautiful Italian Girl in Tunisia” contest in 1957. The prize, a trip to the Venice Film Festival, thrust her into the world of cinema, where her radiant beauty and natural charisma caught the eye of producers.
Cardinale’s early life was not without challenges. At 17, she faced a traumatic pregnancy resulting from an assault, choosing to raise her son, Patrick, as a single mother while presenting him as her brother to protect her burgeoning career. Signing a seven-year contract with producer Franco Cristaldi’s Vides Cinematografica, she entered the film industry under strict control, but her talent quickly shone through, marking the start of an illustrious journey.
The 1960s were Cardinale’s defining decade, as she became a muse for some of cinema’s greatest auteurs. Her breakout came in 1958 with a role in Mario Monicelli’s Big Deal on Madonna Street (I soliti ignoti), where her portrayal of the sheltered Carmelita earned her the nickname “Italy’s sweetheart.” That same year, she debuted alongside Omar Sharif in Goha, setting the stage for her meteoric rise.
In 1961, Cardinale delivered a deeply personal performance in Valerio Zurlini’s Girl with a Suitcase (La ragazza con la valigia), playing Aida, a nightclub singer abandoned by her lover. Her portrayal of Aida’s heartbreak and resilience, informed by her own experiences as a young mother, showcased her emotional depth and vulnerability, making the film a cornerstone of her early career.
Also in 1961, Cardinale starred in Mauro Bolognini’s La Viaccia (The Lovemakers), a poignant drama based on Mario Pratesi’s novel. As Bianca, a young prostitute caught in a tragic love story with a naive farmer (played by Jean-Paul Belmondo), Cardinale brought a delicate balance of sensuality and sorrow to the role. Her performance underscored her ability to convey complex emotions, earning praise for her chemistry with Belmondo and her portrayal of a woman trapped by societal constraints.
In 1962, she starred in Luigi Comencini’s Bebo’s Girl (La ragazza di Bube), based on Carlo Cassola’s novel. As Mara, a young woman torn between love and the consequences of her lover’s partisan past, Cardinale delivered a nuanced performance, blending tenderness with moral complexity. The role cemented her ability to carry character-driven dramas with authenticity.
In 1963, Cardinale gave two iconic performances. In Federico Fellini’s 8½, she played the ethereal muse to Marcello Mastroianni’s existentially torn director, her husky voice—used for the first time at Fellini’s insistence—adding depth to her role. That same year, she starred as the fiery Angelica in Luchino Visconti’s The Leopard, holding her own opposite Burt Lancaster and Alain Delon in the film’s unforgettable ballroom scene. Her ability to embody both vulnerability and strength made her a standout, often compared to Sophia Loren and Gina Lollobrigida, yet distinctly unique.
Cardinale’s international fame soared with her role in The Pink Panther (1963), where David Niven famously called her “Italy’s greatest invention, along with spaghetti.” In 1966, she starred in Richard Brooks’ The Professionals, a Western adventure alongside Burt Lancaster, Lee Marvin, and Robert Ryan. As Maria, a kidnapped Mexican revolutionary, Cardinale brought intensity and defiance to the role, navigating a male-dominated narrative with commanding presence. Her chemistry with the ensemble and her ability to convey both strength and sensitivity made the film a thrilling showcase of her versatility.
Perhaps her most legendary role came in 1968 with Sergio Leone’s Once Upon a Time in the West. As Jill McBain, a former prostitute turned homesteader, Cardinale delivered a performance that redefined the Western heroine. Her character’s journey from vulnerability to steely resolve, set against Ennio Morricone’s haunting score and Leone’s sweeping visuals, remains one of cinema’s most unforgettable portrayals. Cardinale’s ability to convey Jill’s inner strength and emotional complexity elevated the film to a masterpiece, cementing her status as a global icon.
Cardinale’s filmography is a testament to her versatility, spanning genres and languages with ease. Fluent in French, Italian, English, Spanish, and Arabic, she worked across Europe and Hollywood, collaborating with directors like Werner Herzog (Fitzcarraldo, 1982), Franco Zeffirelli (Jesus of Nazareth, 1977), and Blake Edwards. Her comedic flair shone in Les Pétroleuses (1971) opposite Brigitte Bardot, while her dramatic intensity captivated in Sandra (1965), where she played a Holocaust survivor grappling with trauma.
Her personal life, however, was not without turbulence. Her marriage to Franco Cristaldi (1966–1975) was marked by professional control, and her subsequent relationship with director Pasquale Squitieri, with whom she had a daughter, Claudia, led to industry backlash orchestrated by Cristaldi. Despite this, Cardinale persevered, continuing to work into her later years with roles in films like Signora Enrica (2010), for which she won a Best Actress Award at the Antalya Golden Orange Film Festival, and Le Fil (2009), where she portrayed a mother navigating her son’s identity.
Cardinale was more than a screen icon; she was a trailblazer. A vocal feminist and UNESCO Goodwill Ambassador for Women’s Rights since 2000, she championed education and gender equality. Her progressive stance extended to supporting LGBTQ+ rights, as seen in her role in Le Fil. Known for her fierce independence, she once defied Vatican protocol by wearing a miniskirt to meet Pope Paul VI, embodying her free-spirited nature.
Her contributions earned her prestigious honors, including the Golden Lion for Lifetime Achievement at the 1993 Venice Film Festival, an Honorary Golden Bear at the 2002 Berlin Film Festival, and France’s Legion of Honour in 2008. In 2011, the Los Angeles Times Magazine named her among the 50 most beautiful women in film history, a fitting tribute to her timeless allure.
Claudia Cardinale once said, “I’ve lived more than 150 lives, prostitute, saint, romantic, every kind of woman, and that is marvelous to have this opportunity to change yourself.” Her ability to inhabit diverse roles, from the tragic Bianca in La Viaccia to the resilient Jill McBain in Once Upon a Time in the West, made her a muse for Visconti, Fellini, Leone, and beyond. Her journey from a beauty contest in Tunisia to the pinnacle of global cinema reflects a woman who overcame personal and professional challenges with grace and determination.
As we bid farewell to Claudia Cardinale, we celebrate a life that enriched cinema and inspired millions. Her films, from the poetic 8½ to the epic The Professionals, will continue to captivate audiences, while her advocacy for equality and freedom ensures her legacy endures. Rest in peace, Claudia—your light will forever shine on the silver screen.
Image via Columbia Pictures