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Person

Paolo Stoppa

Acting

Known for
Acting
Born
Jun 6, 1906
Died
May 1, 1988
From
Rome, Italy

From Wikipedia, the free encyclopedia Paolo Stoppa (6 June 1906 – 1 May 1988) was an Italian actor and dubber. Born in Rome, he began as a stage actor in 1927 in the theater in Rome and began acting in films in 1932. As a stage actor, his most celebrated works include those after World War II, when he met director Luchino Visconti: the two, together with Stoppa's wife, actress Rina Morelli, formed a trio whose adaptions of works by authors such as Chekhov, Shakespeare and Goldoni became highly acclaimed. He debuted in television in 1960 in the drama series Vita col padre e con la madre, reaching the top of the popularity in the 1970s, in particular in the adaption of crime novels by Friedrich Dürrenmatt (Il giudice e il suo boia and Il sospetto) and Augusto De Angelis. As a film actor, Stoppa made some 194 appearances between 1932 and his retirement in 1983: films he appeared in include popular classics such as Miracolo a Milano (1951), Rocco e i suoi fratelli (1960), Viva l'Italia! (1961), Il Gattopardo (1962), La matriarca (1968), Amici miei atto II (1982). He also had a role in the Sergio Leone epic Once Upon a Time in the West (1968) and cameoed in Becket (1964). Stoppa was also a renowned dubber of films into Italian. He began this activity in the 1930s as dubber of Fred Astaire. Other actors he dubbed include Richard Widmark, Kirk Douglas and Paul Muni. Description above from the Wikipedia article Paolo Stoppa, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Images

Credits

Once Upon a Time in the West

19688.3out of 10

The Leopard

19637.7out of 10

Rocco and His Brothers

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The Marquis of Grillo

19817.8out of 10

My Friends Act II

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The Return of Don Camillo

19537.2out of 10

Miracle in Milan

19517.3out of 10

Becket

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Boccaccio '70

19626.9out of 10

The Gold of Naples

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After the Fox

19666.1out of 10

Rookies Go to War

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The Count of Monte Cristo

19546.7out of 10

Beach House

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The Beauty of the Devil

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Are We Men or Corporals?

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Rugantino

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Indiscretion of an American Wife

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