a suicide attempt in the '70s (in the looming shadow of Last Tango in Paris, which friend and one-time girlfriend of Marlon Brando, Esther Anderson, said "ruined [Maria's] life"), Schneider once and for all overcame these problems by the early '80s - which she accredited to her "angel", which may have been life-partner Maria Pia Almadio (or, according to some sources, Crapanzano). The beginning of the decade saw the actress appearing in a campy Belgian vampire comedy with Louise Fletcher, Mama Dracula (1980), which received universally negative reviews from critics. The same year, she performed alongside Klaus Kinski in the French thriller Hate (Haine). 1981 saw Schneider in Peacetime in Paris, a Yugoslavian picture set in the French capital, which follows a documentarian researching the history of Nazism in Paris; there he meets and falls in love with Schneider's mysterious character, who helps him out on his quest. The picture won a Special Prize at the 12th Moscow International Film Festival, and also featured Schneider's father, Daniel Gélin, in a supporting role as a taxi driver (none of his scenes, however, are shared with Maria.) In 1982, she offered performances in two comedies, the Italian Looking for Jesus (Cercasi Gesù), with Fernando Rey, and the French Stray Bullets (Balles perdues). Starting from 1984, Schneider began appearing more regularly in European television movies and shows, such as 1985's A Song for Europe (or A Crime of Honour) with a young David Suchet of Agatha Christie's Poirot fame, while doing supporting roles in cinematic turns like the Japanese production of The Princess & the Photographer (1984). Towards the end of the 1980s, Schneider had substantial roles in the French thriller Résidence surveillée (1987) and the post-apocalyptic surrealistic comedy Bunker Palace Hôtel (1989) with three other legends of French cinema: Jean-Louis Trintignant, Carole Bouquet, and Jean-Pierre Léaud (the latter of which was Schneider's obsessive filmmaker fiancé in Last Tango in Paris.) Personal life In 1974, Schneider came out as bisexual. In early 1976, she abandoned the film set of Caligula (reportedly due to its pornographic content, saying "I am an actress, not a prostitute!") and checked herself into a mental hospital in Rome for several days to be with her lover, photographer Joan Townsend. This, coupled with her refusal to perform nude, led to Schneider's dismissal from the film. The 1970s were turbulent years for Schneider, marked by drug addiction, overdoses, and a