Twice for Max Ophiils, Isa Miranda played the part that interested him most—the actress in search of herself: as a sketch among many in La Ronde (50) and wonderfully delicate and touching in La Signora di Tutti (34). It was that earlier film that decided her on a film career. In fact, she did not attain her Ophiilsian tenderness with many other directors—but neither did Martine Carol.
Although most of her films were Italian, she also worked in France and America: II Caso Haller (33, Alessandro Blasetti); Comele Foglie (34, Mario Camerini); L'Homme de Nulle Pan (37, Pierre Chenal); Scipione L’Africano (37, Carmine Gallone); to Hollywood, to play opposite Ray Milland in Hotel Imperial (39, Robert Flo-rey); Malombra (42, Mario Soldati); Zaza (43, Renato Castellani); Lo Sbaglio di Essere Vivo (45. Carlo Ludovico Bragaglia); Audela des Grilles (48, René Clément); her episode in Siamo Donne (53, Luigi Zampa); Raspoutine (53, Georges Combret); Avant le Déluge (54, André Cayatte); Summer Madness (55, David Lean); Gli Sbandati (55, Francesco Maselli); Une Manche et la Belle (57, Henri Vemeuil); La Noia (63, Damiano Damiani); The Yellow Rolls Royce (64, Anthony Asquith); Hell Is Empty (66, Bernard Knowles and John Ainsworth); Caroline Chérie (67, Denys de la Patellière); The Shoes of the Fisherman (68, Michael Anderson); L’Assoluto Naturale (69, Mauro Bolognini); and The Night Porter (73, Liliana Cavani).