Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, the daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumor that her birth name was Karolina Piekarski. However, this currently cannot be substantiated by known records. Baker's parents separated when she was eight years old, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania.

Baker separated from her second husband, Jack Garfein, in 1967, and moved to Europe with her two children to pursue a career there after struggling to find work in Hollywood. Eventually settling in Rome, Italy, Baker became fluent in Italian and spent the next several years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to play the lead role in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi.  Many of these films feature her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at the time. Baker became a favorite of Umberto Lenzi, with her best-known role being in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said: "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and got blacklisted, has been around. She may not be an actress, but she can act. In The Carpetbaggers, there was a nice wholesome vulgarity to her performance. She is not intrinsically as bad as she appears in Paranoia. I think maybe she was saying the hell with it and having a good time." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, though they afforded Baker--who had left Hollywood in debt and with two children to support-- an income, as well as fame abroad. In retrospect, Baker commented on her career in Italy and on her exploitation film roles, saying: "I think I made more films [there] than I made in Hollywood, but the mentality is different. What they think is wonderful is not what we might ... it was marvelous for me because it really brought me back to life, and it gave me a whole new outlook. It's wonderful to know about a different world."  She followed her roles in Lenzi's films with a leading role in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than a sleekly predatory sorceress". CANNOTANSWER

Answer the following question by taking a quote from the article: Did she win any awards for that?
TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation
Carroll Baker föddes och växte upp i Johnstown i Pennsylvania i en romersk-katolsk familj, dotter till Edith Gertrude (nee Duffy) och William Watson Baker, en resande försäljare. Hon är av polsk härkomst, vilket har gett upphov till ett rykte om att hennes födelsenamn var Karolina Piekarski. Detta kan dock för närvarande inte styrkas av kända uppgifter. Bakers föräldrar separerade när hon var åtta år, och hon flyttade med sin mor och yngre syster, Virginia, till Turtle Creek, Pennsylvania. Baker separerade från sin andra make, Jack Garfein, 1967 och flyttade till Europa med sina två barn för att där ägna sig åt en karriär efter att ha kämpat för att hitta arbete i Hollywood. Så småningom bosatte sig i Rom, Italien, blev Baker flytande på italienska och tillbringade de följande åren med huvudrollen i hård kantad italienska thrillers, exploatering, och skräckfilmer. 1966 hade Baker bjudits in till Venedigs internationella filmfestival, där hon träffade regissören Marco Ferreri, som bad henne spela huvudrollen i Hennes Harem (1967). Detta följdes med skräckfilmerna The Sweet Body of Deborah (1968) och The Devil Has Seven Faces (1971). Baker hade också huvudrollen i So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), och Il coltello di ghiaccio (Knife of Ice) (1972), alla skräckfilmer regisserade av den italienske filmaren Umberto Lenzi. Många av dessa filmer presenterar henne i roller som nödställda kvinnor, och visade ofta Baker i nakenscener, vilket få större Hollywoodskådespelare var villiga att göra vid den tiden. Baker blev en favorit till Umberto Lenzi, med sin mest kända roll som i den nämnda Paranoia, där hon spelade en förmögen änka plågad av två sadistiska syskon. I sin recension av Paranoia sa Roger Ebert: "Carroll Baker, som var en Hollywoodsexsymbol (för vissa, sägs det) tills hon stämde Joe Levine och blev svartlistad, har funnits. Hon kanske inte är skådespelerska, men hon kan agera. I The Carpetbaggers var det en trevlig hälsosam vulgärhet i hennes uppträdande. Hon är inte lika dålig i sig själv som i Paranoia. Jag tror att hon kanske sa åt helvete med det och hade roligt." Liksom med Paranoia fick majoriteten av de filmer hon gjorde i Italien dåligt kritiskt mottagande i USA, även om de gav Baker - som hade lämnat Hollywood i skuld och med två barn att stödja - en inkomst, liksom berömmelse utomlands. Baker kommenterade i efterhand sin karriär i Italien och sina exploateringsfilmsroller och sade: "Jag tror att jag gjort fler filmer [där] än jag gjort i Hollywood, men mentaliteten är annorlunda. Vad de tycker är underbart är inte vad vi kan ... det var underbart för mig eftersom det verkligen förde mig tillbaka till livet, och det gav mig en helt ny syn. Det är underbart att veta om en annan värld." Hon följde sina roller i Lenzis filmer med en huvudroll i Corrado Farinas Baba Yaga (1973) som titulärhäxan, vid sidan av Isabelle De Funes och George Eastman. TV Guide refererade till filmen som ett "exceptionellt stiligt exempel på 1970-talets italienska pop-exploatering filmskapande sötat av Piero Umilanis lounge-jazz score," och berömde Bakers uppträdande, men noterade att hon hade "fysiskt fel för rollen; hennes genomarbetade spets-och-beribbonerade kostymer får henne ibland att se mer ut som en köttig Miss Havisham än en elegant rovgirig trollkvinna". CANNOTANSWER Svar på följande fråga genom att ta ett citat från artikeln: Vann hon några utmärkelser för det?
Carroll Baker was born and raised in Johnstown, Pennsylvania, in a Roman Catholic family, daughter of Edith Gertrude (nee Duffy) and William Watson Baker, a traveling salesman. She is of Polish descent, which has given rise to a rumour that her birth name was Karolina Piekarski. However, this is currently not supported by known data. Baker's parents separated when she was eight, and she moved with her mother and younger sister, Virginia, to Turtle Creek, Pennsylvania. Baker separated from his second husband, Jack Garfein, in 1967 and moved to Europe with his two children to pursue a career there after struggling to find work in Hollywood. Eventually settled in Rome, Italy, Baker became fluent in Italian and spent the following years starring in hard-edged Italian thrillers, exploitation, and horror films. In 1966, Baker had been invited to the Venice International Film Festival, where she met director Marco Ferreri, who asked her to star in Her Harem (1967). This was followed with the horror films The Sweet Body of Deborah (1968) and The Devil Has Seven Faces (1971). Baker also starred in So Sweet... So Perverse (1969), Paranoia (1969), A Quiet Place to Kill (1970), and Il coltello di ghiaccio (Knife of Ice) (1972), all horror films directed by Italian filmmaker Umberto Lenzi. Many of these films present her in roles as distressed women, and often showed Baker in nude scenes, which few major Hollywood actors were willing to do at that time. Baker became a favorite of Umberto Lenzi, with her best known role as in the aforementioned Paranoia, where she played a wealthy widow tormented by two sadistic siblings. In his review of Paranoia, Roger Ebert said, "Carroll Baker, who was a Hollywood sex symbol (for some, it is said) until she sued Joe Levine and was blacklisted, has existed. She may not be an actress, but she can act. In The Carpetbaggers there was a pleasant healthy vulgarity in her performance. She's not as bad in herself as she is in Paranoia. I think maybe she said fuck it and had fun." As with Paranoia, the majority of the films she made in Italy received poor critical reception in the United States, although they gave Baker - who had left Hollywood in debt and with two children to support - an income, as well as fame abroad. Baker subsequently commented on his career in Italy and his exploitation film roles, saying, "I think I made more films [there] than I did in Hollywood, but the mentality is different. What they think is wonderful isn't what we can...it was wonderful for me because it really brought me back to life, and it gave me a whole new sight. It's wonderful to know about another world." She followed her roles in Lenzi's films starring in Corrado Farina's Baba Yaga (1973) as the titular witch, alongside Isabelle De Funes and George Eastman. TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop-exploitation filmmaking sweetened by Piero Umilani's lounge-jazz score," and praised Baker's performance, but noted that she was "physically wrong for the role; her elaborate lace-and-beribboned costumes sometimes make her look more like a fleshy Miss Havisham than an elegantly predatory sorceress". CANNOTANSWER Answer to the following question by taking a quote from the article: Did she win any awards for it?
TV Guide refererade till filmen som ett "exceptionellt stiligt exempel på 1970-talets italienska pop-exploatering
TV Guide referred to the film as an "exceptionally handsome example of 1970s Italian pop exploitation