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Romy Schneider, born Rosemarie Magdalena Albach; 23 September 1938 – 29 May 1982) was a German-French actress. She began her career in the German Heimatfilm genre in the early 1950s when she was 15. From 1955 to 1957,
she played the central character of Empress Elisabeth of Austria in the Austrian Sissi trilogy, and later reprised the role in a more mature version in Luchino Visconti's Ludwig (1973). Schneider moved to France, where she made successful and critically acclaimed films with some of the most notable film directors of that era.

Early life
Schneider was born Rosemarie Magdalena Albach in Vienna, six months after the Anschluss of Austria into the German Reich, to actors Magda Schneider and Wolf Albach-Retty. Her paternal grandmother, Rosa Albach-Retty, was also an actress. Schneider's mother was German while her father was Austrian.
Four weeks after Romy's birth, the parents took her to Schönau am Königssee in Germany where she and later her brother Wolf-Dieter (born 1941) grew up with their grandparents Franz Xaver and Maria Schneider on the country estate Mariengrund.
In her first year, Romy was cared for by a governess. Her parents were very rarely present due to their acting engagements. In 1943, they separated and were divorced in 1945. In September 1944, Schneider was enrolled in the elementary school of Schönau and from July 1949 she attended the girls' boarding school at Castle Goldenstein, a private secondary school of the Augustinian Canonesses of the Congregation of Notre Dame in Elsbethen near Salzburg.
Already during her schooldays, she discovered her passion for acting which is why she was often on stage at theatrical performances at the residential school. In her diary entry of 10 June 1952, she wrote:  "If it were up to me, I would immediately become an actress. ... Every time I see a nice movie, my first thoughts are about 
the idea: I definitely have to become an actress. Yes! I have to!" On 12 July 1953, she left the residential school Goldenstein with the degree of Mittlere Reife. After the summer holidays, she moved to Cologne to join her mother who lived there with
the restaurateur and entrepreneur Hans Herbert Blatzheim. 

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Early career
Romy Schneider's first film, made when she was 15, was When the White Lilacs Bloom Again (1953), credited as Romy Schneider-Albach. In 1954, Schneider, for the first time, portrayed a royal, playing a young Queen Victoria in the Austrian film Mädchenjahre einer Königin (known in the U.S. as The Story of Vickie and in Britain as Victoria in Dover). Schneider's breakthrough came with her portrayal of Empress Elisabeth of Austria in the romantic biopic Sissi (1955) and its two sequels,
Sissi – The Young Empress (1956) and Sissi – Fateful Years of an Empress (1957), all with Karlheinz Böhm, who became a close friend. Less stereotypical films during this busy period include The Girl and the Legend (1957), working with a young Horst Buchholz, and Monpti (1957), directed by Helmut Käutner, again with Buchholz.
After her parents' divorce in 1945, Magda took charge of Romy and her brother Wolf-Dieter, eventually supervising the young girl's career, often appearing alongside her daughter. Her career was also overseen by her stepfather Blatzheim who, Schneider indicated, had an unhealthy interest in her.

Schneider soon starred in Christine (1958), a remake of Max Ophüls's 1933 film Liebelei (in which her mother Magda Schneider had played the same role).
It was during the filming of Christine that Schneider fell in love with French actor Alain Delon who co-starred in the movie. She left Germany to join him in Paris, and they announced their engagement in 1959. Schneider decided to live and to work in France, slowly gaining the interest of film directors such as Orson Welles for The Trial (1962), based on Franz Kafka's The Trial. She was also introduced to Luchino Visconti. Under Visconti's direction, she gave performances in the Théâtre Moderne as Annabella (and Delon as Giovanni) in John Ford's stage play 'Tis Pity She's a Whore (1961), and in the film Boccaccio '70 (segment: "The Job"). In 1962, Schneider played Anna in Sacha Pitoëff's production of Chekhov's play The Seagull, also at the Théâtre Moderne. A brief stint in Hollywood included a starring role in Good Neighbor Sam (1964), a comedy with Jack Lemmon, and What's New Pussycat? (1965), in which Schneider co-starred with Peter O'Toole, Peter Sellers, and Woody Allen. Schneider and Delon decided to separate in December 1963, although they remained close lifelong friends. They continued to work together in such films as La Piscine (The Swimming Pool, 1968) and The Assassination of Trotsky (1972).

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Later career
Schneider continued to work in France during the 1970s, most notably with director Claude Sautet on five films. Their first collaboration, The Things of Life (Les choses de la vie, 1970) featuring Michel Piccoli, made Schneider an icon in France. The three collaborated again for the noir thriller Max et les ferrailleurs (Max and the Junkmen, 1971), and she appeared with Yves Montand in Sautet's César et Rosalie (1972). Paris Match wrote 1971: "Forty years after Greta and Marlene, fifteen years after Marilyn, the screen again has a great star." Schneider portrayed a more mature and realistic Elisabeth of Austria in Ludwig (1973), Visconti's film about the life of King Ludwig II of Bavaria. "Sissi sticks to me just like oatmeal", Schneider once said.Other successes from this period included Le Train (1973), Claude Chabrol's thriller Innocents with Dirty Hands (Les innocents aux mains sales, 1975) with Rod Steiger, and Le vieux fusil (1975). The gritty That Most Important Thing:
Love (L'important c'est d'aimer, 1974) garnered her first César Award (France's equivalent of the Oscar), a feat she repeated five years later, in her last collaboration with Sautet, for A Simple Story (Une histoire simple, 1978). On 30 October 1974, Schneider created one of the most memorable moments on German television. She was the second guest on Dietmar Schönherr's talk show Je später der Abend (The Later the Evening) when she, after a rather terse interview, remarked passionately to the last guest, bank robber and author Burkhard Driest: "Sie gefallen mir. Sie gefallen mir sehr." (I like you. I like you a lot.) Schneider was, in 1975, to star as the female lead in U.S. filmmaker Michael Cimino's political love story Perfect Strangers, whom he cast after seeing her performance in Ludwig[citation needed]. She would have starred alongside Roy Scheider and Oskar Werner,  though the film was ultimately cancelled after several weeks of pre-production shooting because of "political machinations". She also acted in The Infernal Trio (1974) with Michel Piccoli, and in Garde à vue (1981) with Michel Serrault and Lino Ventura. An unpleasant incident occurred during this period with leading German film director Rainer Werner Fassbinder, who wanted to cast her as the lead in his film The Marriage of Maria Braun (1979). Negotiations broke down when he called Schneider a "dumb cow", to which she responded  by declaring she would never work with such a "beast".[20] Fassbinder cast Hanna Schygulla instead, reviving his professional association with an actress to whom he had likewise been offensive. Schneider starred in Bertrand Tavernier's Death Watch (La mort en direct, 1980), playing a dying woman whose last days are watched on national television via a camera implanted in the brain of a journalist (Harvey Keitel).
It is based on David G. Compton's novel. Schneider's last film was La Passante du Sans-Souci (The Passerby, 1982).

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