Nathalie Delon

Francine Canovas was born on 1 August 1941 in Oujda, then under the French Protectorate in Morocco, to a French family of Spanish origin. She was the daughter of Louis Canovas (1915–2003), pied-noir of Oran (Algeria), manager of a transport company in Morocco, who abandoned the family when she was 8 months old in 1942 and Antoinette Rodriguez, who was from Melilla. Nathalie had a sister, Louisette, and a brother.

In 1957, Nathalie married a conscript from the north of France, Guy Barthélémy, who later became the signing officer for Omnium Marocain d'Assurance. They lived in Morocco and had a daughter named Nathalie Barthélémy. The marriage ended in 1960 and the following year she moved to Paris. Their divorce was granted in July 1964.

In August 1962, Nathalie met French actor Alain Delon at New Jimmy's, a Paris nightclub, and they began a secret relationship that night that lasted one year. In May 1963, Nathalie accompanied Delon to the shoot of his new film La Tulipe Noire. The couple became engaged in April 1964 and on 13 August 1964, they married in Loir-et-Cher. Their son, Anthony Delon, was born on 30 September 1964, at Cedars-Sinai Medical Center in Los Angeles. They were one of the most glamorous and talked-about couples of the 1960s. In June 1968, Nathalie and Delon separated. The couple later divorced on 14 February 1969. They worked together on two films: Le Samouraï, whilst they were married, and Doucement les Basses after their divorce.

During the 1960s and 1970s she dated Bobby Keys, Marc Porel, Eddie Fisher, Renaud Verley, Louis Malle, and Franco Nero, among others. Her greatest love was Chris Blackwell, whom she was with for 15 years (1978–1993).

During the 1960s, Nathalie Delon was a model. She was photographed by top French and foreign photographers for famous magazines such as Vogue.

In 1967, Nathalie became a film actress, starring opposite her husband in the film Le Samouraï by Jean-Pierre Melville, which became a hit. Writing of the Delons' performances in Le Figaro, Bertrand Guyard notes husband and wife are both nearly silent but "their gazes, fraught with meaning, are enough to thrill the camera" with the director drawing from their portrayals "a mythical couple in the seventh art." ...

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