Laura Antonelli, born Laura Antonaz on November 28, 1941, in Pola, which was then part of the Kingdom of Italy, emerged as one of Italy’s most captivating film actresses during the mid-20th century.
Her life story is intertwined with the turbulent history of post-World War II Europe, as her family fled the region after Italy’s defeat, enduring refugee camps in cities like Genoa and Venice before resettling in Naples.
There, her father, Mario Antonaz, secured work as a hospital administrator, providing a stable foundation for young Laura’s upbringing.
Initially drawn to mathematics and excelling in rhythmic gymnastics, skills honed through rigorous teen classes imposed by parents who viewed her as “ugly, clumsy, and insignificant”, Antonelli graduated as a gymnastics instructor.
Known for her voluptuous beauty and nuanced portrayals of desire and vulnerability, she starred in 45 films from 1964 to 1991, often embodying the era’s blend of erotic allure and emotional depth.
She passed away from a heart attack on June 22, 2015, at age 73, in Ladispoli, Italy, leaving behind a legacy as a sex symbol who transcended mere pin-up status to become a multifaceted artist.
Siblings
Laura has one sibling named Claudio Antonaz.
However, not much is known about Claudio, including her personal life or career pursuits, as he leads a private life away from the spotlight.
In interviews, Antonelli reflected on a childhood spent adapting to instability across Italian cities like Venice and Genoa.
Career
Antonelli’s career ignited in the vibrant chaos of 1960s Italian cinema, transitioning from rhythmic gymnastics and brief stints as a physical education teacher to the silver screen through television spots like Coca-Cola ads on the show Carosello.
Her uncredited debut came in 1965’s Le sedicenni, a light teen comedy, but it was her American foray in 1966’s Dr. Goldfoot and the Girl Bombs—a campy Vincent Price vehicle—that hinted at her comedic timing and allure, though producer Samuel Z. Arkoff later quipped her reluctance to disrobe doomed the film’s success.
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Roles trickled in during the late 1960s, including the erotic drama La Rivoluzione Sessuale (1968), co-scripted by Dario Argento, and the Sacher-Masoch adaptation Venere in pelliccia (1969), where she boldly embraced nude scenes as the obsessive Wanda von Dunajew.
By 1970, she charmed opposite James Garner in the spaghetti Western A Man Called Sledge, but her true breakthrough arrived with 1973’s Malizia, directed by Salvatore Samperi.
As the seductive housekeeper Angela, entangled in a web of familial lust with a widower and his sons, Antonelli sparked scandal and box-office frenzy, cementing her as Italy’s erotic icon in the commedia all’italiana wave.
The 1970s unfolded as her golden decade: she navigated sex comedies like Il merlo maschio (1971), where she posed nude in a Man Ray homage, and High Heels (1977), while venturing into prestige projects such as Luchino Visconti’s The Innocent (1976), portraying the enigmatic Tullia in a tale of aristocratic adultery.
Collaborations with masters like Dino Risi in Telefonata (1980s TV) and Ettore Scola showcased her range beyond sensuality, delving into repressed awakenings in Wifemistress (1977) and forbidden passion in Passion of Love (1981), opposite Bernard Giraudeau.
As the decade waned, Antonelli shifted toward television from 1986, appearing in series that sustained her visibility amid Italy’s evolving media landscape.
Her final bow was Malizia 2000 (1991), a sequel revisiting her breakout role, after which a cocaine scandal—initially sentencing her to house arrest—halted her momentum.
Accolades
Antonelli’s standout accolade arrived in 1974 with the Nastro d’Argento—Italy’s prestigious Silver Ribbon from the National Syndicate of Film Journalists—for Best Actress in Malizia, the scandalous 1973 hit that launched her to stardom and grossed massively at the box office.
Earlier nods came via box-office successes like Dr. Popaul (1972), a Claude Chabrol love triangle co-starring Jean-Paul Belmondo and Mia Farrow, which highlighted her international appeal.
In 1986, Antonelli received a David di Donatello for Best Supporting Actress for her role in Ettore Scola’s heartfelt drama The Family, where she infused warmth into a sprawling generational saga, proving her dramatic chops beyond lighter fare.
Tributes poured in posthumously: Italy’s Culture Minister Dario Franceschini hailed her as an actress of “rare beauty and great talent,” while peers like Belmondo remembered her as an “adorable companion of exceptional charm.”
Documentaries like 2023’s Senza Malizia further enshrined her legacy, featuring interviews with collaborators and chronicling her journey from Istrian refugee to cinematic muse.
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