Her censorship of Orson Welles is a story from a lost world

Gina Lollobrigida, who passed away this week at the age of 95, was a celebrated figure in the 1950s and beyond, known for her captivating beauty and her portrayals of spirited, self-assured Italian women. Her career was multifaceted; she sculpted, took photographs, dabbled in journalism, and navigated a tumultuous personal and political life with younger husbands and assistants frequently in tow.

However, Lollobrigida should also be remembered for her involvement in one of the early groundbreaking experiments in television: a short film by Orson Welles titled “Viva Italia,” or “Portrait of Gina.” This film has never had an official release, largely due to Lollobrigida’s own disapproval. She felt the film portrayed her as somewhat vulgar and overly ambitious. Created in the late 1950s as one of Welles’s two experimental television pilots – the other being “The Fountain of Youth” – “Viva Italia” was a pioneering effort in television technique. It served as a prototype for the ‘video essay’ format Welles later utilized in “F for Fake.” The film is a collage of newsprint, newsreel footage, film clips, and archival footage of Italian cinema figures, combined with an interview of Lollobrigida and Welles. Interestingly, Welles never interviewed her directly; the interaction was cleverly edited to appear as though they were conversing.

The film’s rapid editing and unconventional use of music may not appeal to everyone. Welles himself mentioned to Peter Bogdanovich that potential distributors strongly disliked it. Nevertheless, the film is a significant piece of television history, and Welles’s reputation has only grown since his death in 1985.

“Viva Italia” was lost for decades until it was rediscovered in 1986 and screened at the Venice Film Festival. Upon viewing it, Lollobrigida still disliked it and managed to have it banned. Despite her efforts, the film didn’t completely disappear; it can be found on YouTube, albeit in lower quality, allowing viewers to appreciate its innovative style.

With Lollobrigida’s recent death, there’s renewed hope that “Viva Italia” might finally see a formal release. Platforms that specialize in artistic and historical content might present it as a rediscovered gem. This situation also highlights a bygone era where stars had the power to suppress works that did not align with their desired public image. In today’s digital age, where content can be shared widely and preserved online, the ability for celebrities to control their image so strictly has diminished significantly.

In today’s celebrity landscape, we find ourselves in an ‘attention economy’ where social media prominence can be as lucrative as traditional successes in music, film, or television. The most crucial factor now is the sheer amount of attention garnered, rather than being selective about it. Platforms like TikTok can propel individuals like Bella Poarch from obscurity to instant fame with simple yet viral content, quickly leading to manufactured careers in entertainment.

Even established celebrities now follow a path of relentless exposure, engaging in press junkets, and maintaining an active online presence. Will Smith’s attempt to dominate YouTube, alongside Jada Pinkett Smith’s confessional series on Facebook, exemplifies this trend of excessive self-revelation. Smith’s deeply personal autobiography led to headlines like BuzzFeed’s (since modified) “We know too much about Will Smith now,” highlighting the fatigue even celebrity-centric audiences feel.

Gina Lollobrigida, on the other hand, sought attention that conformed to her self-image as vibrant, fiery, beautiful, intelligent, yet modest. She demanded that her public persona align with these attributes, regardless of the contradictions with her actual lifestyle. Her strict control over her image stands in stark contrast to today’s volume-driven approach to celebrity.

While egomania persists among celebrities, the current focus is on quantity over quality of attention. Exposure has become synonymous with financial success and is vital for maintaining relevance. Consequently, there’s less concern about the deeper implications of this constant visibility, emphasizing the shift from curated public images to relentless and often indiscriminate sharing.