Interview with Evelyn Stewart (Ida Galli)

Nocturno

By Davide Pulici

August 2011

So much for getting into an argument on movies, beginning from Pantelleria, where she now has the house: he told me that this island has known her just as she turned Thanks ladies p ... Renato Savino ...

To tell the truth, I was a little 'bad when I turned p ... Thank you sir, because I was expecting something else. I was working in Spain (on “Quando Marta urlò dalla tomba”) when I phoned my agent telling me that there was this movie with Hiram Keller, who had just made Fellini's Satyricon. It was thought that it could be a very interesting film, that the presence of Keller was a guarantee. It was my agent who signed the contract. I spoke with the director who told me the story of these two girls who are experiencing a moment of reflection (laughs) ... but then, I realized that it was something else. In the end I think it is perhaps one of the least interesting films among those I've done and it's not one that I remember very gladly. Although I was very good on the set, it introduced me to Pantelleria and the director was a nice person: we were a friendly group of people, however, just like the film, it is one to forget ..........

And Keller?

Hiram was nice, a little 'out ... (laughs). I think that later he went to New York and that he may have been a cook, opening a restaurant.

Ida, was born in Sestola, in the province of Modena: how has gone from Sestola to the movies?

I was already living in Rome, four or five years, when I started making films. I had graduated when by chance, a friend of my sister, who was an actor ... oh my God, what was he called? Gérard Landry, a French actor who lived in Rome, he took pictures. I lived in Ostia, he came to the beach to see us and gave me some pictures. Landry was quite known at that time: in fact, he found me interesting and showed photos of me to his agent and so it all began, in a truly random ... I did not think absolutely about the movies, I wanted to be a teacher. It was just a thing away from any of my ideas. It happened that these photographs would end up in the hands of the blue painted blue director, Piero Tellini, who had long been looking for a young girl with my characteristics: I was immediately hired ...

Your real debut was in Nel blu dipinto di blu (1959)?

Yes. The film was quite interesting, with Domenico Modugno, who had just won the Sanremo Festival with his song, and Giovanna Ralli ... it was a neo-realism film, very, very cute ... Piero Tellini was a screenwriter of the entourage of Federico Fellini and this was his first time directing. It did not have much success, perhaps because everyone expected the film to be like the song, while it was a movie, which is what he want, even committed, and was very well done and quite sophisticated, with beautiful photography, set in Rome. The success was not that important that they expected, but the film deserved to be successful.

You were immediately noticed in the film, right?

Yes ... a producer named Franco Cancellieri gave me a contract and so I turned my Law of War ... no, indeed, I get confused: “Une fille pour l’été, Una ragazza per l’estate” directed by Edouard Molinaro, in France. I was still fighting within myself as to whether to continue with the cinema ... This producer, however, insisted: "But try, try, you'll see ...." In the blue he painted blue because he had, as far as I was concerned, very successful, I loved it, and then ... I made this film in France, then the “Legge di Guerra”, also there was also quite an important dramatic role, shot in Yugoslavia ... and then Fellini called me and made me do this role in “La Dolce Vita”.

The rookie of the year ...

Yes, and I must say I am very sorry that in the various histories of cinema and Fellini never mentioned this character instead of the novice that was a great success. Because then there was the story behind Princess Barberini which had been run by the boyfriend with the sword. Fellini also wanted me to go to Milan, when he made the first film, because my character was quite important.

What was the Fellini like?

He look, great, something really out of the ordinary. A wonderful person ... His mother I think her name was Ida like me, so it was always there to tell me: "Idina, Idina ...." A loving man, was great to work with him ... and Mastroianni was a man of love.

In the space of a few months, in 1960, she also plays the Empress Messalina Venere Cottafavi Vittorio, who was also the first of many historical films and costume that characterize her career...

It was a blockbuster for the time, with an Ennio De Concini screenplay, and the movie was cute ... Look, I've always tried, since then, to do what I liked. Just beginning to be an actress, I really liked to change, diversify my commitments on the set and characters that I played. To switch from a dark personality to the girl of the people, by a costume drama to modern ones ... I'd love to make films as they did in England, in other places, not to portray on type of a character. As then, we have above all, there was this habit. If you were a certain type of person, they always wanted you for the same characters: If you were the lover you were always the lover, if you were evil you always did the treacherous roles ... So I always tried to change characters completely. And whatever it was, the  first film of a director, a western, a historical film, a war movie, I followed all the strands in order to change ...

In fact, just in the same period you rose from Cottafavi to Pietrangeli with Ghosts of Rome ...

They are playing very well in this sense, because even in the movie there I was in the midst of all these giants, I, who had attended neither acting school or lessons or anything. So much so that both Fellini and Visconti, who were the ones that kept us longer to do the masters, I wondered if it was good if I had gone to school. Visconti told me absolutely not, and advised me to do all kinds of films that were offered to me ... strange that he would tell me such a thing, no? But according to him that was the only way you learned ... Fellini, for his part, told me something very nice: I had the film and at times, there is no school that can you teach you. It was a very nice thing and then also very important to me. What were we talking about? Ah yes, the Pietrangeli film, full of great actors, extraordinary. But they kept me a bit 'all like coccolina. I was very lucky: I continue to say that the film I have a wonderful memory of, especially of the people; not only the actors but everyone. In normal life, including people not in film, I rarely find the same feeling ...

So once you meshed career you liked working in films, which gave you great satisfaction ...

Yes, but, not having chosen willfully, the first time was not so ... because in the meantime I had had a bit 'of family problems, indeed a big problem like the death of my father, who made me feel very lonely. It almost felt like an imposition, this work. I lived for such a period; then after I got married and each time I have waited for  a child I stopped, always in the best moments ...

Here, we open a brief on this. I know that Deborah Cocco is her daughter, but is it true that your son is also Alessandro Cocco who was a young protagonist of La bellissima estate by Sergio Martino?

Yes, it is true, Deborah is the second. The first, Alessandro, has also made another film, with Tomas Milian “Il giustiziere sfida la città” ... The birth of Alessandro made me stop right after The Leopard. I stopped and I did not work for a while '. Then I was called on and I began with a western ...

However, before you get to the western stage, I would like to ask you a question about a director with whom you have worked twice, a leading figure Mario Bava ...

I have a beautiful memory of Mario Bava, because it amused me to see all the tricks that he worked with. He treated ladies very elegantly, and had the ability to make you live the movie as a great game. Among other things, in his films, especially Hercules in the Haunted World, there was a wonderful photograph, I was fine, so I was very happy ... Bava I always remember him smiling, with this great ability to get in roles where you should not strive for anying, because he could coach you to do well. Great professionalism and sympathy ... I remember him while he was busily drawing on his slides, and showed them to me, explaining to me all the background ...

In the movie there was Christopher Lee, and Reg Park who was Hercules ...

Yes, yes ... a Hercules was a bit 'more modest, though (laughs) ...

Let's talk about the experience with Luchino Visconti in The Leopard ...

Visconti chose me right away. When he saw my photograph he chose me. Among other things, to be one of the Lancaster daughters ... I did not really expect that. He sent for me, he saw me, he did not even want me to audition. The only thing, since I have always been blonde, made me dye my dark hair dark, to give a little look of Sicilian folklore. With Visconti he was exceptional, and he we had an enormously good relationship, so much so that, later, he called me for Death in Venice ... See, my dream would be - but do not know where and to whom to turn - to have pictures the specimens like that in Death in Venice. After The Leopard I stopped again for a while, after the birth of my son. Luchino had called me three times. And then, when I went to talk to Death in Venice, Visconti said, "At last a face to make the make-up come alive! '... He always gave me such attention. He made me this photo audition. I was too young to be the mother of the boy, but he told me: 'I do not care, because I will decrease the age of all the other children. The mother is a symbol, it does not matter even if she is very young. "Only at the time I was already shooting, because they had chosen me for a film in London and I had already signed the contract. And I finally said no to Visconti's Death in Venice. There was Albino Cocco they kept calling but in the end I did not want to give up the film in England, The Weekend Murders, also because I had already filmed a few of the scenes. There was also Michele Lupo who was quite angry that I could not withdraw from the film: "It's not right, you do not do this ...." In short, I did Death in Venice. Then I contracted a fever, then, after, because I made the mistake enormous, not least because Visconti had forgiven me, and rightly so. Then he got sick and there was no longer any opportunity to meet. However, for the audition he made me these photographs with Helmut Berger, who then met me in the movie ...

Una farfalla con le ali insanguinate, what you have filmed in Bergamo ...

Right, I do not remember the name in the headlines, but have always been so. Anyway ... Helmut told me that Visconti, with my photographs, always kept them close and had put them on display where he always sat when he became paralyzed in one part of his body. He held them close and looked, because he said it was the most beautiful picture he had made for this role. So, for him the role had to be mine. Then after was chosen by Silvana Mangano, who was extraordinary, marvelous, but he had fallen in love with my photos. Somewhere they still exist, I do not think they have been destroyed. It was a beauty, you know ... with all the vintage clothing, with these veils ... There was also Cecchi Gori who said to me: "Come on, Ida have ... patience, I will then let you have a contract for two more films" it was clear that he agreed; having options for two more films after it did not give me cause or anything ... Who sues Visconti? Everyone has a great regret in life, I have this. Why do Death in Venice, already more mature, no longer a little girl, in this film that would go down in history, it would really be the maximum. I have never tried for momentary success, thus, with the public, I have always been a bit 'shy ... but have this wonderful memory I would have liked. Even for all the beautiful words that Visconti told me, he was not one easy to compliment, so much so that people, in fact, he was amazed ...

A film of the period in which you really like is Roma contro Roma, Giuseppe Vari: at one point you take a walk in a night forest, in a trance ... What a great scene!

(Laughs) So I now I do not have very precise memories of this movie ... Who were the actors?

There were John Drew Barrymore, Ettore Manni, Philippe Hersent ...

Ah yes, but I remember especially the off-scene, that in the morning I was to take with Ettore Manni, because we lived nearby and we did these long journeys to the set, because you went up to Manziana ... it is in that area that the we turned. I have this flash ...

When did Ida Galli becomes Evelyn Stewart?

With the westerns, with Blood for a Silver Dollar, because then they made us change all our names. It was mandatory because they sold it to the Americans and they wanted thes foreign name. I do not know who found them. I remember that as Evelyn the name to me was good enough. It turned out well, it is not that we have had to make a great looking, or that there were special reasons behind this pseudonym.

What was the first western that he did?

Un dollaro bucato had so much success, although it was shot on a shoestring. Giorgio Ferroni, the director, was cute, fun. The film, as I said, has brought in a lot of money and then right after they made me do Adios Gringo and from there I made a whole series, also in Spain. But these first two are the most interesting. Both with Giuliano Gemma, with whom we had already met during The Leopard, because Visconti allowed me to be the daughter of Burt Lancaster, he sent me for more than a month of piano lessons, so that I could move my fingers in a coherent manner. And he, Gemma, was with me because while I played the piano he was singing ... I do not know if you remember, in the movie he played a partisan singing. So we had alread met during the preparation of the Leopard for a month. Then I met down to Sicily. We found ourselves in Westerns and later in a war movie where there was also Henry Fonda ...

The great attack, Lenzi ...

Yes, I played his wife, but just a little thing. Lenzi had insisted because I went back to the cinema, but I pretty much had already stopped, "Come, come, do Giuliano's wife ...," I was persuaded and it was the last thing I did.

A beautiful film that I reviewed recently because we cared an edition of the DVD for Cecchi Gori, is Le piacevoli notti, co-directed by Armando Crispino and Luciano Lucignani ... but who directed them?

I'm glad if it comes out, I'm glad ... On the set I remember Crispino, it was him, although his head was perhaps more Lucignani. Crispino was the most active, sure, but in my opinion behind, him perhaps, there was very Lucignani. Even this I have wonderful memories, because when they ask me who is the cutest actor, ever, that I knew, I answer that it was Vittorio Gassman, both on set and off the set.

Cuter than even Alberto Sordi?

Yes, yes, without a doubt ... Il medico della mutua I had a very good relationship, so much so that afterwards they wanted me for Professor Tarsilli; in the second film there was a female role, while he absolutely wanted me. And I was, I believe, one of the few that ‘della mutua’ wanted twice close to him. Sordi was not easy: very good, outstanding, wonderful, though his character was hard enough; struck this transformation by the person a little bit put-off, and so the extraordinary performer that became him on the set.

Scrolling through her filmography are films of all kinds, even the spy-movies, the Italian imitations of James Bond ...

Like I said, I did it on purpose to vary my roles continuously; otherwise you risked being typecast in a given role. Then I was changing, I changed completely...

As part of these changes and of this eclecticism is grafted perfectly a film that was recently reissued on DVD in France, Il giardino delle delizie (The Garden of Earthly Delights), by Silvano Agosti ...

Agosti, in itself, is an amazing character. Of The Garden of Earthly Delights I have wonderful memories, not beautiful. When he told me about the movie for the first time, Agosti took me to the English cemetery, for illustrarmi the character (laughs). A person of wonder, persuasive, so attentive. Every morning me and Lea Massari, he brought us flowers. Although there was not a penny, because it was his first movie ... which Enzo Doria, poor thing, every morning were a prick of vitamins to keep it up ... (laughs) because it was his first film as a producer and he had difficulty finding the money. Despite this, Silvanus brought us flowers every morning. Me and Massari we also thought he was going to take them to the cemetery nearby. Ah, but it's been a wonderful experience.

Unfortunately for the film, from what I understand, in its complete form, Integral, has been lost: I know he had a lot of hardships censorship ...

Yes, in fact, it was boycotted. Even when we went to the Pesaro Festival and it received a prize. Already it was a pretty hard film, in addition it was also boycotted, because it was opposed to religion, with this character who killed, in this spirit a bit different, dreamy ... I remember when we were shooting in Portofino that all of us actors were lying on the ground, because Agosti wanted us all, finally, were to see Portofino as no one had ever seen, from the bottom up, because everyone, however, looked at him from the top down (laughs). Undoubtedly a beautiful and unique experience.

Ida, did you work on Moresque obiettivo allucinante also known as Copland ouvre le feu a Mexico, Riccardo Freda, or did you not?

Yes, I remember working with Freda, but this film I do not remember it at all ...

With Assassination directed by Emilio Miraglia, however, you had more police on the side...

It was a movie party with a budget also quite interesting. We shot in New York, Amsterdam ... It had to come out well, but in the end did not have the great success that was expected ...

Instead, a film that had a lot of success at the time was The Sweet Body of Deborah, that inaugurates the season of Italian crime in which you will be a real star: it has a large number of facts ...

Yeah, shot in Rome and the French Riviera, The Sweet Body of Deborah is one of the giallos that I remember with more pleasure. After this film, by the way, I had been sitting for a while, because I had my daughter Deborah. There was this strange coincidence. The director called me and I had told him that maybe I would not be workin anymore. "Yes, come on, come on ..." so the Warriors finally convinced me. And then, strangely, I had already decided to call my daughter Deborah. When I went to talk with the director I was eight months; he told me: "Look, expect you to give birth soon, because I want you." And at this point, I found out that the film was titled The Sweet Body of Deborah, the name I had decided to give to my daughter. On the set, I took her back, a little baby. So I also have this very tender memory of the film.

The cast was remarkable: Jean Sorel, Carroll Baker, Luigi Pistilli, who you met again in other films ... Together you shot the beautiful Giallo-crepuscolare Scavolini, Un bianco vestito per Marialé...

Yes, poor Pistilli, came to a terrible end ... Yes, I agree with you, Un bianco vestito per Marialé was very nice. I do not know why they have been successful ... Maybe it was a bit 'too nihilistic, I did not understand because it is gone ... There were other very poor films that had happened. Although today I’m told that it was rediscovered, no?

Yes, yes, it has many film lovers. It was the result of a good mix of elements: great actors, especially eerie atmosphere, an inspired soundtrack ... But the Giallo, thriller, dark kinds, you liked?

Yes, yes, it was fun, very was pleasant. The film which I mentioned earlier, what you did not accept Death in Venice, Concerto per pistola solista, was a beautiful Giallo and my character I liked. The script was magnificent, beautiful ... here, perhaps the realization, although managed to make a good movie, was not at the level of the script. I was convinced that the film would be a success, but no, maybe it was also the wrong title. Many journalists who wrote film criticism were for this idea, that the title was all wrong, because no one knew immediately it was a Giallo and took it to be a western. Pity, because - as I say - the script was wonderful, permeated by this English humor ...

What about Strada senza uscita, Gaetano Palmieri, with Andrea Giordana?

Well, it was a very ambitious film that, however, did not come out as I hoped. It was a thriller that we filmed partly in Calabria, in the moment of maximum success by Andrea Giordana. He had just made The Count of Monte Cristo and I remember an episode when we were shooting down in Calabria: we were in a hotel near the Ampollino Lake in Sila. One Saturday there was the procession of the country and when it became known that Giordana was there, the procession turned to go to the hotel and then continued on its way (laughs). The TV characters then were really gods. He then was also a nice guy ...

Il delitto del diavolo was rather leaning towards a metaphysical film, a horror full with symbolism ...

A very strange movie. I remember we were fine on the set, we had fun. The director was very keen to a sexy mood, which was easily understood by this erotic aspect. It was the period when Italian cinema emerged in this fashion of film a little like a dream ... There I met Silvia Monti, with whom we became very good friends. Yes, the friend maybe more than a friend that I had in the cinema was perhaps Silvia Monti, otherwise not ... because I have made a completely different kind of life. Perhaps it is this that prompted me then to leave, because my friendships, knowledge were mostly outside the cinema. When I finished with the cinema, I worked for twenty years and I have just finished, with Giulio Macchi, who was the founder of Horizons Science and Technology, television broadcasts ... I do not know if you remember? Macchi was the father of Piero Angela. He was a genius of television, a wonderful director, with great innovative capacity. He made important programs, such as Habitat, where he pulled out these great architects, like Renzo Piano, and before that, as I was saying, Horizons Science and Technology. When I finished with the cinema, we met by chance, after years, because he had directed an episode of Le italiane e l’amore ...

Il prezzo dell’amore by Piero Nelli ...

Yes, unfortunately that episode was lost and it's a shame because it was really nice ... Yes the film was burned, there's more ... My episode does not exist anymore and I'm sorry because it was very nice. I was a girl who was raped, very dramatic, a beautiful character. Macchi in the movie was the director of one of the various episodes. But we had met at the beginning of my career and I had become friends with him and his family. At the time he had a big entourage of people, because he was really important, in Italy and abroad, in France, everywhere. We met by chance when I stopped by the cinema, in Viale Mazzini, as he was coming out of the Rai. I saw him and I called him, I was with my son ... when we had then lost sight I was not even married. So I presented my son, I stood and it was a great happiness, because he helped me a lot, like I said at the beginning of his career, after the death of my father. He was older than me by a couple of decades and I learned a lot from him and his wife; when I needed advice, something, I would go to them. He, too, had stopped with television and attended art shows, exhibitions were important, throughout Europe. So I worked for twenty years with him: it was really very nice. We organized exhibitions in major European cities, especially at the Kunsthalle in Bonn but also at the Petit Palais in Paris. He then unfortunately passed away last year and that was the experience that has filled my life a lot in these last years.

Before I talked abou Il grande attacco, but you have also worked on other occasions with Lenzi, Coltello di ghiaccio, which was another of those thrillers, then Giustiziere sfida la città with Milian ...

Well, Lenzi ... so that was a bit presumptive but even with him I cannot say I have had a bad relationship ... maybe it seems exaggerated, but I must say that I have always had very very good relationships with people. I have no bad memories, even with him, that was one that has scolded me a lot me because, in his view, he had a more important, more interesting career ... Almost everyone has scolded me, I must tell you the truth: my character, the way I had to behave, being too shy, or I would get attached too much to a person without thinking if it was the right one ... never looking with interest about my the career. Lenzi scolded me enough for this, but then he called me afterwards, but I had already stopped and I said no. He is a bit '... he is not among the nicest people I've known, let me put it that way.

Because his image was so often associated with thrillers, to Gothic? He does not seem to have a Twilight character, but ... But he chose me, it was something that I did consciously, because they generate this that allowed me to change, it can be good or bad. And they were movies that required acting a bit more interesting, more nuanced, instead of the usual role of the wife or lover. It was for this. Apart from that I've always liked the Giallo. And then I in the titles that list me, how many variations I have done ... many, even among my admirers, believe me a foreigner, a Nordic who occasionally came to Italy (laughs)

A film in which I find you to be very well appreciated is Cagliostro, where it came to Pier Carpi and Daniele Pettinari, the husband of Bonaccorti ...

Pier Carpi, the director, was a bit like Silvano Agosti, a very special person, highly educated, he also wrote. He was even the designer of Mickey Mouse. But really very, very special ... Pettinari I remember him as a screenwriter, perhaps ... among other things, the Bonaccorti was my friend and we have been for a long time. We also went to some festivals, I remember, to present the film. But as far as I know, the mind behind the film was Pier Carpi ...

Which also then he makes them do the role of Our Lady in Povero Cristo ...

Yeah ... (laughs). It was very funny, because Carpi was trying this figure of Christ and spoke to me, and phoned me at all hours of the day and night ... even at three in the morning, because I was a little uncertain as to whether to do this role: "Yes. You must do it, you must do it .... " Only he had to choose who to play Jesus Christ and was very undecided. He once told me he was thinking of maybe Al Pacino (laughs) ... "Ah, well - I said - what a treat! Although he is not my favorite! But in fact, Al Pacino is Al Pacino" (laughs). When he came out with the final choice of Mino Reitano, which for him was perfect, I've been very bad, I have to say (laughs). So much so that I was undecided whether to do it, but then he was so cute that I accepted, even without Al Pacino ...

After Povero Cristo, you make the film by Mario Caiano Napoli spara e Sette note in nero with Fulci, which I would like to ask you something ...

Lucio Fulci with me has always behaved very well, I worked very well with him, on the set I was fine ... even though he was another of those who reproached me very much. Fulci also had scolded me a lot scolded for my way of being. He was very good, at least he was talented as a director, had the perfect time. In my opinion he has not gotten everything he deserved from the cinema.

Ida, for television, you seldom if ever worked in it?

Yes, it's true. I did something that was called Diagnosis, Mario Caiano, with Philippe Leroy. Basically I just did what ... no, wait, maybe I also did another television movie cannot remember the title ...

About the unpublished: Küçük kovboy (Cowboy Kid) by Guido Zurli you shot that in Turkey, right?

Yes, yes, starring the Turkish actor Cüneyt Arkin who was an amazing star. When I arrived there, in fact, I was surprised, because this gentleman was the equivalent of what in Italy would be a Mastroianni, he was considered beautiful and much loved by the women, by all ... We went to turn in Cappadocia. We were good, although the film itself it remains an exceptional memory.

You told me that Il grande attacco, in 1978, was among your last films ... But later, however, you are also credited in Brothers of Italy ...

Yes ... even that was one of those things ... It went like this: there was Christian De Sica in the film, which excited me; I remembered in Nel blu dipinto di blu, with his father, then he had seen me in Fantasmi a Roma and had followed the westerns ... because he is well-educated in the field of cinema, a person with a preparation, in all respects, great, I was almost shocked by his knowledge of everything and everyone ... and then, he had insisted so much but so much so that he convinced me to return to the movies for this small part: "If we like you, you go on ...." If I had still felt pleasure in the cinema I could still do many things. Why then, had I stopped making films? I had at home at least seven or eight scripts; I have not stopped for lack of work, I mean. I made this little thing but I realized that for me was a finite discourse, and then ... That one was just the last, but I also do not consider it either ...

You’ve never gave a precise account of all his films?

An admirer told me that I shot 67, but I have not, it’s 63 or 64. That was still a nice little work, if we consider that as I said I had to stop twice when I had my children, among other things in the best moments of my career, because I had the first child at age 24 and the other 27. So I lost a lot of chances. After The Leopard, Visconti had made me this all this incredible publicity, because according to him I was the most beautiful face of Italy. You know, a thing that is not certain from the first that passed ... it was nice publicity. He was a prophet, then he said something that became true for everyone. Stop working at that time meant missing chances, on the other hand I had made a lifestyle choice. This job I did not choose, so I have not taken it very seriously from the beginning, although this does not mean that when I worked hard I not in the right way, but ... it was all so, almost just one more job. Instead then I realized that the people I met I liked very much, I had played wonderful characters, so I have a really good memory. So much so that I was sorry that my son did not want to make films, by the way he was very good, really an incredible talent ... I was amazed. But nothing. My daughter who was also very good, on television ... so much so that even Arbore had chosen her for a drive ... did this when they went to transmit the new years in the various capitals of the world? Deborah had made a broadcast from Beijing and was very good and Arbore, which was then RAI International, would have wanted her. According to Arbore, she was a bit 'like Rossellini. She was very communicative, more communicative than me. Deborah, however became very annoyed about the thing: unfortunately, you know how is a career in television ... Sometimes she happened to get ready and get to the end and then, perhaps, was chosen because it was another friend of one or they had knowledge of another. I explained that this happens normally, you have to put into account. But this thing to her was wrong and virtually stopped her. Since. I, however, still have a life, I am a very mature lady, I realize how much sensitivity and beautiful people I’ve met. Maybe I've chosen well, I was lucky ....

 Here’s a recent 2016 photo of Evelyn Stewart (Ida Galli) with author Fabio Melelli.