Tomás Quintín Rodríguez-Varona Milián Salinas de la Fé y Álvarez de la Campa (3 March 1933 – 22 March 2017) was a Cuban-born actor with American and Italian citizenship, known for the emotional intensity and humor he brought to starring roles in European genre films.
A student of Lee Strasberg's, Milian studied method acting at the Actors Studio in New York City. In Italy, he was discovered by director Mauro Bolognini and appeared in supporting roles in several drama films during the late 1950s and early 1960s, including '' Bad Girls Don't Cry'' (1959) and as Raphael in Carol Reed's '' The Agony and the Ecstasy'' (1965). Throughout the late-1960s and early-1970s, Milian established himself as a dynamic leading actor in a series of Spaghetti Western films, most notably '' The Big Gundown'' (1966), '' Django Kill... If You Live, Shoot!'' (1967), as well as Sergio Corbucci's parody of the genre '' The White, the Yellow, and the Black'' (1975). Dennis Hopper also cast Milian in his 1971 art-house film, '' The Last Movie''.
Following a decline in the popularity of Spaghetti Westerns, Milian transitioned to roles in '' poliziottesco'' films. After receiving acclaim for his performance as a psychotic killer in '' Almost Human'' (1974), he made appearances in '' Emergency Squad'' (1974), '' The Tough Ones'' (1976) and '' The Cynic, the Rat and the Fist'' (1977). After returning to the United States in 1985, Milian continued to perform supporting roles in film productions, including '' JFK'' (1991), '' Amistad'' (1997), '' Traffic'' (2000) and '' The Lost City'' (2005).
Personal life
Milian was born in
Havana
Havana (; ) is the capital and largest city of Cuba. The heart of La Habana Province, Havana is the country's main port and commercial center. He settled in the United States to study at New York's Actors Studio and later became an American citizen. In 1969, he became a naturalized Italian citizen.
Career
After starting a career in the United States, Milian went to Italy in 1958 to take part in a theatre festival in Spoleto. He eventually decided to relocate to Italy, where he lived for over 25 years, becoming a very successful performer. His first film part in Italy was in the 1959 picture '' La notte brava''. Although his voice was usually dubbed due to his accent, Milián performed his lines in Italian (or in English, depending on the film). He initially starred in arthouse movies and worked with directors such as Mauro Bolognini and Luchino Visconti.
After five years of making what he deemed "intellectual" movies, Milián was unhappy with his contract with producer Franco Cristaldi and thought of going back to the United States. Needing money to start over, he took the opportunity to star as a bandit in a Spaghetti Western called '' The Bounty Killer''. The film boosted his career, and ultimately resulted in his staying in Italy. He became a star of the Spaghetti Western genre, where he often played Mexican bandits or revolutionaries, roles in which he spoke in his real voice. He starred in '' The Ugly Ones'' (1966), '' The Big Gundown'' (1966), '' Django Kill... If You Live, Shoot!'' (1967), '' Face to Face'' (1967), '' Run, Man, Run'' (1968), '' Death Sentence'' (1968), '' Tepepa'' (1969), '' Compañeros'' (1970), '' Sonny and Jed'' (1972), '' Life Is Tough, Eh Providence?'' (1972) and '' Four of the Apocalypse'' (1975).
As the Spaghetti Westerns dwindled, Milián remained a star in many genre films, playing both villains and heroes in various polizieschi movies. He starred with Barbara Bouchet in the giallo '' Don't Torture a Duckling''. In addition to his role in '' Almost Human'' (1974) and appearances in '' Emergency Squad'' (1974), '' The Tough Ones'' (1976) and '' The Cynic, the Rat and the Fist'' (1977), he also appeared in two film series - Bruno Corbucci's ''Nico Giraldi'' series (1976-1984, beginning with '' The Cop in Blue Jeans'') and Umberto Lenzi's ''Er Monnezza'' films (1976-1980, beginning with '' Free Hand for a Tough Cop''). His other films during this period include the giallo '' Don't Torture a Duckling'' (1972) and the non-genre films '' The Last Movie'' (1971), '' Luna'' (1979), '' Identification of a Woman'' (1982) and '' Monsignor'' (1982).
He later turned to comedy, playing the recurrent characters of petty thief Monnezza and Serpico-like police officer Nico Giraldi in a variety of crime-comedy pictures. Although his voice was dubbed most of the time by Ferruccio Amendola, Milián wrote his own lines in Roman slang. Milián's inventive use of '' romanesco'' (Roman dialect) made him a cult performer in Italy. Bruno Corbucci, the director of many of these films commented, ''"At the cinemas as soon as Tomás Milián appeared on the screen, when he made a wisecrack and in the heaviest situations, then it was a pandemonium, it was like being at the stadium."'' As Milián used similar makeups and accents in portraying both characters, Monnezza and Nico were occasionally confused by Italian audiences, who sometimes referred erroneously to them both as ''Monnezza'', or ''Er Monnezza'' (''Da trash'' in Roman slang ), and still closely associate Milián with these performances.
Milián also appeared in non-genre pictures, such as Bernardo Bertolucci's '' La Luna'', for which he won a Nastro d'Argento for Best supporting Actor, and Michelangelo Antonioni's '' Identification of a Woman''.
As he grew older, Milián decided to go back to the United States. He appeared in Sydney Pollack's ''
Boccaccio '70
''Boccaccio '70'' is a 1962 comedy anthology film directed by Vittorio De Sica, Federico Fellini, Mario Monicelli and Luchino Visconti from an idea by Cesare Zavattini. It consists of four episodes, each by one of the directors, all about ...
* Giorgio Navarro, Fabio Zanello, ''Tomas Milian. Er cubbano de Roma'', Molino, 1999; .
* Max Serio, ''Tomas Milian: The Tough Bandit, the Rough Cop and the Filthy Rat in Italian Cinema'', Mediane, 2009; .
* Gordiano Lupi, ''Tomas Milian, il trucido e lo sbirro'', Profondo Rosso Editore, 2011; .