Film legend Franco Nero is among the most prolific actors in modern cinema, with nearly 240 film appearances since the 1960s. Born in Parma, Italy, in 1941, to a carabinieri (police officer), Nero gained international recognition in John Huston’s The Bible (1966) as Abel, murdered by Richard Harris’ Cain. That same year, he starred in Sergio Corbucci’s Django, a cult-favorite Spaghetti Western, and played Sir Lancelot in Camelot, stealing Queen Guenevere (Vanessa Redgrave) from Harris’ King Arthur.
Nero became an international star, acting on nearly every continent. He reprised his role as Django in a few films and became a staple of Italian crime cinema. Periodically appearing in Hollywood productions, Nero featured in Letter to Juliette, Force 10 From Navarone, Enter the Ninja, Die Hard 2, and some TV movies and miniseries.
In recent years, he appeared in Quentin Tarantino’s Django Unchained, John Wick: Chapter 2, and several films by director Vladislav Kozlov, including Death of the Sheik, American Superman, Immortalist and Silent Life.
In a recent interview with Christian Peschken, a correspondent for CNA Deutsch, Nero opened up about his Catholic faith, passion for acting, his adventurous spirit, and the wisdom he has gained throughout his illustrious career. He described his love for the craft and his insatiable curiosity as the driving forces behind his decision to work across numerous countries and cinematic traditions.
Nero attributed his restless drive for exploration partly to his heritage, noting, “My grandmother was a gypsy from Spain … and maybe I have some gypsy blood that helped me to seek always a new adventure.”
This wanderlust and openness to new experiences have kept Nero constantly on the move, ready to embrace diverse roles and stories. He worked with renowned directors such as Rainer Werner Fassbinder, Robert Altman, Claude Chabrol and John Huston.
Reflecting on the varied roles in his career, Nero shared a conversation with the iconic actor of stage and screen, Sir Laurence Olivier.
“He told me, ‘You’re beautiful. You can play the hero all the time, like American stars do. But if you want to be an actor, change roles all the time, risk a lot in your career.’”
Nero took this advice to heart, embracing a versatile and daring approach to acting. “In the long run, you get the fruits,” he said Olivier had told him, and Nero’s career exemplifies this philosophy. His faith, dedication to service, and passion for storytelling continue to define his legacy in cinema.
His latest film, The Estate, co-stars his wife, Academy Award-winning actress Vanessa Redgrave, whom he has been married to since 2006. It is a social thriller that tells the story of an aristocratic family that is unable to save its ancestral estate due to insurmountable debts. The film was directed by Nero and Redgrave’s son, Carlo (born in 1966 before they were married), and will be released this year.
Your breakthrough role as Django in 1966 has achieved cult status. Do you see any connection between the struggles of your characters and your personal faith or values?
No, I don’t think so. Django was just a character created by film director Sergio Corbucci, and I was very young. That movie was for workers. … All the workers, they want to be Django. They want to go to the chief or the head of the office and say, “Listen, from today on, things are different.” … I’m very humble. I’ve been working for 58 years in a village of orphans [film industry]. … That is my mission in life.
In the often-chaotic world of filmmaking, what role does your Catholic faith play in your daily life and career?
It’s not easy to answer. I played a friar once in The Betrothed. … That is a great role, very close to me. St. Augustine was the best saint in the world. Up until the age of 36, 37, he was a terrible man … but then he had the conversion and became an incredible saint.
Many of your characters face moral dilemmas and questions of integrity. Do you believe films can serve as a medium to communicate spiritual values?
I think so. Films can be very useful … to make the audience think about faith, about your religion, and also about justice and injustice. It’s very important.
Movies are powerful tools for storytelling and reaching people. How important is it to you that your work leaves behind a positive message?
I don’t know. I read the script and think, “This is a great role for me.” Sometimes, yes, they can give a message to the audience, but not always. It depends on the film.
Is your Catholic faith important to you?
Absolutely! Every morning I thank God that I’m still alive … and at night I say to myself, “Today, I’ve been a good man. If I did something wrong, forgive me, God.” In that sense, I’m very religious.
In the movie The Pope’s Exorcist (2023) with Russell Crowe, you played the Pope. You live in Italy and you are Catholic, and you are a prominent actor. Did you ever meet the Pope?
Oh, yes. I was on a plane to Budapest, and there was an ambassador from Slovakia who was a fan of mine. He said, “Do you want to meet the Pope?” and I said, “Yes, I would love to.”
Then while working on a movie in Cornwall, England, I received an unexpected phone call from the Pope’s secretary. “Mr. Nero, would you like to meet the Pope next weekend?” the secretary asked. I was caught off guard and responded, “No, I cannot. I’m here in England working. I cannot do it.” There was a pause before the secretary suggested another date: Nov. 4. I quickly agreed, as my filming wrapped on Oct. 31. Everything was organized for me to meet the Pope.
[My son Carlo said,] “Papa, I would like to come, too,” he said to me. I called the Pope’s secretary again, and said, “The family has to be together.” A few days later, my wife [Vanessa Redgrave] also expressed interest in attending. “Now Mom wants to come, too,” Carlo said, prompting me to make yet another call. Once more, I said to the secretary, “As I told you already, the family has to be together.”
[It was nothing short of] incredible. They told me the Pope usually stays 15, 20 minutes. … With me, it was almost 40 minutes. We talked about many things, including the village for orphan boys I work with. I gave him a bottle of Franco Nero wine, and he said, “Oh, you want the Pope to get drunk?” I said, “No, I want the Pope to be stronger through the wine.”
I brought him a book by a journalist friend of mine. It was a story about the Pope’s grandmother. When I gave it to him, he laughed and said, “Oh, my grandmother is more famous than prezzemolo.”
Prezzemolo [parsley] is a little herb, very popular in Italy. We use it in so many dishes.
Christian Peschken is a film and television producer and since 2014 EWTN correspondent in Geneva. He previously lived in Hollywood, producing films, for 25 years.
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