In Italy she is already a very pretty woman, tall full of style and appeal. Her closest friends push her to do some modeling for agencies in Buenos Aires as a mannequin and model. And this is when she starts to earn enough to pay for night school and complete her studies in order to leave. She learns to parade on the catwalk, but at first did not receive any money for this activity. She says her quality of life was not satisfactory, and she lived with a constant sense of insecurity. These years were still difficult for her. Rosanna had low self-esteem and self-confidence, but had a great desire to improve. She marries in Argentina, but his first and imprudent marriage fails after only two years. Her obsession is to go to Italy as soon as possible, to work in the fashion industry or the cinema. But the lack of emotional support and a series of misfortunes sentimentally undermine her confidence. The Rosanna Yanni of those years is very fragile, often betrayed by affections and friendships; yet she often gets aggressive like a wild animal, like a defense mechanism is involved. However, that does not deny the remembrances and she considers it a period of growth needed to strengthen her temperament.
Yanni considers the possibility of going to Spain, where the language factor could help her. So she visits Madrid in 1963, and decides to stay for a month. Also here are some Argentine friends. She attends the Teatro de la Zarzuela where Alfredo Alaria is debuted and finds Hugo Ferrer, an Argentine journalist, who informs her that the Spanish director Juan Bosch is looking for a Nordic-looking actress for a comedy film. She is chosen for the cast. It marks her entry into the film world, working in the summer sun (1963), one of those products that would fashion in Spanish cinema of those years, empty comedies rich in content and scantily clad girls. Also entering the film environment is the actor Arturo Fernandez, with whom she maintained a long romance. Yanni makes friends in Spain and with her new found film career decides to stay. This is the period that begins her reputation as a worldly woman of the elitist party planner and man-eater. Her reputation begins with a flirtation with Alain Delon, and other characters of the world of the jet set caliber of Maria Gabriella of Savoy, Vittorio Emanuele of Savoy and Marina Doria. But during a period of time more work does not arrive. And above all the international jet set will never see her in the movies, because her early films are distributed only in Spain. The consequence of Iberian and restrictive laws that arouse little interest in major European distributors. For two long years without scripts she will remain unemployed. She still manage to appear in some small film such as musicals even though Yanni could not sing, or dance. Then she is given a small role in “La familia y... uno más” (Family and ... one more) (1965) by Fernando Palacios, where she works, among others, next to Soledad Miranda, the much worshipped Iberian actress. Consecutively she appears in “Las salvajes en Puente San Gil” (1966) by Antonio Ribas. In 1967 she recovers her inner peace. It convinces her that beautiful women have an advantage of exploitation and uses it to her advantage, because of the selfish and cynical world in which he lives, no one does anything for nothing, and people are only valued for what they have. “El paseíllo” (The Little Walk) (1968) will be her next film, before her relevant encounter with Jacinto Molina aka Paul Naschy. Yanni always claimed to feel very limited in the role of an actress in films that went beyond Spanish borders. The opportunity came with precisely with the encounter with Naschy, actor and director best known Iberian in the world. Born was an artistic union that will allow them to work together in four important films in the Spanish cinema gender. “Brand of the Werewolf” (1968) is the first, and certainly the film that opens a terrifying Spanish genre developed in the 1970s.
The personal and professional experiences of this woman and actress of Calabrian origin, through the various stages of her life, deserve necessary reflection. In memory of all who love, and rebel in Buenos Aires, the alter-ego of the woman as, spy, secret agent, compassionate carnal sex comedian, vampire, worldly woman in Spanish lands, Rosanna Yanni played the sweet and tenacious representation of the unforgettable Latin blonde goddess of European cinema.