Franco Zeffirelli Net Worth Income Profile and Salary. (Florence, 1923) Director of Italian cinema and theater. Although its true name is the one of Gianfranco Corsi, has happened to the history of the cinema with the artistic pseudónimo of Franco Zeffirelli. Author of one of the most representative films of the Italian cinema of the last quarter of the 20th century, he contributed to the Seventh Art a esthetic and decadent vision, although not without humanity and tenderness.
He had a sad and uncommon childhood, marked by tragedy, uprooting and the lack of family references that guided him in his academic education and sentimental education. His mother, a fashion designer, had conceived him in an adulterous relationship, so he invented for him a surname – that of Zeffirelli – that did not bind him to the Corsi family (that is, his legitimate husband).
He grew up during his early years alongside his mother, who died prematurely, a victim of tuberculosis, when little Gianfranco was only eight years old. The future filmmaker was then taken care of by a cousin of his progenitor, who was his tutor until the young man came of age.
Interested, in his youth, for Architecture, Franco Zeffirelli enrolled in the Accademia di Belle Arti of his native city, where he got a degree in that subject. However, he soon became more attracted to the world of cinema, theater and the media; And after a brief period as a collaborator in Radio Firenze (1946), he made his debut in the film as an actor, playing the supporting role of Fillippo Garrone in L’onorevole Angelina (The Angelina Deputy, 1947), by the Roman director Luigi Zampa (1905-1991).
During his studies in Architecture, Zeffirelli had discovered his inclination for the plastic arts and the decoration, reason why it united this liking to his interest by the world of the spectacle and began to work like decorator and set designer in the Theater of the Pergola. There, in addition to learning a number of scenography tricks that would be of great use to him in the future, he met the great film director Luchino Visconti (1906-1976), whose team soon became an assistant director. This period of formation alongside Visconti – who assisted in the filming of some of his films as celebrated as The Earth Trema (1948), Bellissima (1951) and Senso (1954) – influenced decisively in the forge of the style that later Would characterize Zeffirelli in his facet of filmmaker.
With this background, during the first five years of the fifties Franco Zeffirelli became independent and began to work as a set designer, decorator, costume designer and recorder of operas; For many years, he would have to combine these activities-above all, the one that linked him closely with the operatic world-with his dedication to film direction. He triumphed at that time with the staging of the play Lulù, and was also applauded for his work as assistant director of some filmmakers such as Michelangelo Antonioni (1912-), Vittorio de Sica (1901-1974) And Roberto Rossellini (1906-1976).
Having also collaborated as an assistant director with Antonio Pietrangeli in the filming of Il sole negli occhi and Lo scapolo, he decided to launch himself into the adventure of directing a film and filmed his first original production. It is the sentimental comedy Camping (1958), a film of poor quality that, in the opinion of the specialized critic, is too conventional.
In the meantime, he continued to make remarkable montage of operas and plays that he soon began to adapt to the big screen. In fact, he converted that masterpiece of the lyrical genre of Puccini’s La Bohème (1858-1924) into a film, and shortly afterwards he pleasantly surprised critics and audiences with his cinematographic adaptations of two great plays by Shakespeare (1564- 1616): The Indomitable Woman (1967), which featured the starring performances of Elizabeth Taylor and Richard Burton and Romeo and Juliet (1968), a play which, in a theatrical version, had already led with great success in 1960.
Zeffirelli took special care of everything concerning the recreation and historical setting – thus establishing one of the main characteristics of his particular cinematic style; And to such an extent this preoccupation to faithfully reflect the text of Shakespeare, who chose, to embody the protagonists of Romeo and Juliet, the debutantes actors Leonard Whiting and Olivia Hussey, who were then the age of the two main characters of the drama Seventeen and fifteen years, respectively). The experts underlined the good taste and figurative elegance that Zeffirelli had squandered on these two brilliant adaptations of each of the Sespirian works.
In collaboration with his inseparable teacher and friend Visconti, Zeffirelli staged, between 1948 and 1953, several plays of some of the great universal geniuses of the Art of Talia, such as Chekhov (1860-1904), Tennessee Williams (1911-1983) And the aforementioned William Shakespeare. Particularly successful were his plays by Otello, which he presented at the Stratford-on-Avon festival, the birthplace of the brilliant English playwright in 1961- and of Who’s Afraid of Virginia Wolf? By the American playwright Edward Franklin Albee (1928-) . And, in the international operatic circuits, its version of Aida, of Giuseppe Verdi (1813-1901) was much applauded.
In the field of cinema, after his subtle, delicate and romantic version of Romeo and Juliet (1968), Zeffirelli opted for a radically original work and filmed Fratello sole, sorella luna (Hermano sol, hermana luna, 1972), a mystical and suggestive Recreation, quite sui generis, of the life of St. Francis of Assisi (1181-1226). The radical originality of Zeffirelli, seen here in an intentionally hippie setting of the saint and his surroundings, was not well received by the critics and the public of the seventies.
This failure diminished, in part, the international reputation he had achieved with earlier films, and led some critics to assert that Zeffirelli possessed more endowment for theatrical and operatic direction than for specifically filmmaking. In any case, Brother Sun, sister Moon reinforced that intimate and spiritual universe of the Florentine artist, always tending towards mystical introspection through a stylized decadent setting.
Jesus of Nazareth (1977)
This spiritual richness of his deep inner universe was once again evident in his Gesù di Nazareth (Jesus of Nazareth, 1977), a new film production – specifically designed for the small screen – in which Zeffirelli’s delicate ethical and aesthetic romanticism works In order to highlight the human dimension of the figure of Christ. Although this production was very popular with the critics as well as the general public, it received some furious attacks by the more orthodox Christians, who were greatly disturbed by this humanized vision of Jesus, presented by Zeffirelli practically as a vulgar and ordinary being.
The popularity that had restored to Zeffirelli his Jesus of Nazareth encouraged the Hollywood industry to count on him for a pair of feature films that exploited that sentimental vein so well cultivated by the Florentine filmmaker in previous works, although now decidedly inclined towards the excesses Sensitive and tearful. These are minor works -but true of notable popular pull-as Champion (1979) and Endless Love (1981), the latter starring Brooke Shields.
Soon after, Zeffirelli regained his prestige in the most rigorous artistic and intellectual circles around the world thanks to his return to the themes and genres that he had cultivated best since the beginning of his creative career: theater and opera. He then offered magnificent cinematographic versions of La Traviata (1982), Otello (1986) and, among other similar works, Hamlet (1990), the latter interpreted, surprisingly, by two actors as far removed from the Sespirian theater tradition as the Mel Gibbson and Glenn Close. In them he showed some of those distinctive features of his peculiar style, such as the meticulous reconstruction of costumes, furniture and other things that perfectly recreate a specific period of history, or the spiritual approach that seeks to highlight feelings Human characters.
But before surprising his own and strangers again with the release of his particular version of Hamlet, Zeffirelli had returned to the headlines of the cultural pages of the whole world after a bitter controversy that he carried out in 1988, after the presentation in Venice Of The Last Temptation of Christ (1988), another controversial recreation of the life of the Nazarene. Filmed by the American filmmaker Martin Scorsese from the novel of the same name by the Greek Nikos Kazantzakis, this film again aroused the suspicion of Christians around the world, including Franco Zeffirelli, who, having offered in the previous decade his Jesus Of Nazareth, believed himself quite authorized to judge this new cinematographic gaze on the most human aspects in the life of Jesus Christ.
Zeffirelli sharply criticized Scorsese’s film, and joined the choir of those who denounced in the American film an excess of carnality unfit for Christ’s purity; But, at the same time, he could not hide his displeasure because, during the same festival, his film The Young Toscanini (1988) had been unnoticed, removed from the screens after a single exhibition. At that time, moreover, the Florentine filmmaker expressed his ideological sympathies for the political line of the magnate (and, later, president of the Italian government) Silvio Berlusconi, which ended up worsening his image in the most progressive environments around the world.
Net Worth of Franco Zeffirelli
The Net Worth of Franco Zeffirelli in 2017 is $80 Million.
|Full Name||Franco Zeffirelli|
|Net Worth||$80 Million|
|Annual Income||$10 Million|
Since then, almost all his films have been received with some coldness, as happened to his film Stori di una capinera (1993). In 1995 he directed in the United Kingdom a new version of the novel Jane Eyre, work of the famous writer nineteenth century Charlotte Brontë; And four years later added to his filmography the feature film Té con Mussolini (1999), with Maggie Smith and Lily Tomlin in the lead roles. Finally, he returned to the opera with the documentary Callas forever (2002), dedicated to his close friend Maria Callas, with whom he had worked in different operatic montages. His last production so far is Tre fratelli (2005), although his work as a stage manager was once again admired in his adaptation of Verdi’s La Traviata (released in Madrid in August 2006). In November 2004 he was named Knight of the British Empire, being the first Italian to receive this distinction. Thats all about the Franco Zeffirelli total worth.