Totò, pseudonym of Antonio Griffo FoCas Flavio Angelo ducas comneno profirogenitus Gagliardi de Curtis of Byzantium (briefly Antonio de Curtis)

Naples, 15 February 1898 – Rome, 15 April 1967)

 

It Was born in the Rione Sanità, in via Santa Maria Antesaecula on the second floor of Civic 109, by a clandestine report by Anna Clemente, with Giuseppe De Curtis who, in the beginning, to keep the bond secret, did not recognize it, resulting therefore for the registry office "Antonio Clement the son of Anna Clement and N.N. "

The Marquis Giuseppe De Curtis, the father of Totò, initially recognized him as a natural son, his mother Anna Clement, attempted to introduce him as a priest.

 

«Better ' nu son prevete ca nu ' son artist» affirmed.

 

lonely and melancholy, he grew up in extremely disadvantaged conditions and as a child showed a strong artistic vocation that prevented him from dedicating himself to the study, from the fourth grade he was demoted to third. this did not create much embarrassment in him, rather he often entertained his classmates with small performances, performing with grimaces and jokes. The child often filled his days by secretly observing the people, in particular those who appeared more eccentric, trying to imitate the movements and thus attributing the nickname of "O Snitch". This Curious method of study helped him a lot for the characterization of some characters interpreted during his career. After elementary school, he was enrolled in the Cimino College, where, for a trivial accident with one of the preceptors, who inadvertently struck him with a fist, his face underwent a particular conformation of the nose and chin; An episode that partly characterized his mask. The College made no headway, decided to abandon his studies prematurely without getting so the gymnasium license. His mother wanted him to priest, initially had to attend the parish as a choirboy, but encouraged by the first small successes in performances and attracted to variety shows, in 1913, still very young age began attend the peripheral Theatre, performing with the pseudonym of Clerment in impersonations and impersonations of Gustavo De Marco, a Neapolitan interpreter from the great mimic and articulated movements, similar to those of a puppet. Just on those stages of suburbs met actors like Eduardo De Filippo, Peppino De Filippo, and musicians Cesare Andrea Bixio, and Armando 2000s Roma.

during the years of the First World War he volunteered for The Royal army and was assigned to the 22nd Infantry Regiment, remaining stationed first In Pisa and Then Pescia. He Was then transferred to the CLXXII Battalion of Territorial Militia, a unit stationed in Piedmont, but destined to leave for the French front. At the station in Alexandria, the commander of his battalion armed him with a knife and warned him that he should share his chambers by train with a department of Moroccan soldiers of strange and feared sexual habits. Totò at that point, terrified, was seized by evil, and was hospitalized in the local military hospital avoiding leaving. After a period of observation at the Military Hospital was discharged and sent to the 88 Infantry Regiment Friuli stationed in Livorno; It was at that time that he suffered continual abuse and humiliation from a graduated scale; From that experience was born the famous motto of the actor "We are men or Caporali." After his military service, should have done the naval officer but not directing the discipline, ran away from home to perform again as macchiettista, was hired by the impresario Eduardo D'acierno (became famous speck of Il Bel Cedeno), and He obtained a first local Naples Hall, less than the capital of Campania, with a parody of E.A. Mario, entitled Viper Alley, who had heard recited by actor Nino Taranto at teatro Orfeo and who asked the same if he could rubagliela. By the early 1920s the Marquis Giuseppe De Curtis acknowledged Toto as a child and he settled the family situation marrying his mother.Reunited, the family moved to Rome, where toto, with total disapproval of parents, was hired as extraordinary, i.e. the element to use occasionally and without any compensation in the Fellowship of impresario Umberto Capece, a Department composed by actors treeshrews and negligent. Appeared in the commedia dell'arte and earned a special appreciation of the audience as the stage the antagonist of Pulcinella, toto sacrificed greatly for the theater: since I didn't have the money for a ticket the tram every day had to leave from independence square to Piazza Risorgimento, in winter, he asked a few coins to the impresario Capece who overreacted and abrupt replaced him instantly.The episode was a major blow for Totò, who remained dumbstruck, after collecting his belongings in the theater walked away reluctantly. In that brief period of unemployment, toto would fall into turmoil total, morale would rise only when he managed to scrape together some cash performing in small venues; During those experiences, he decided to aim for the theatrical genre, he prefers the variety. He planned to show up at the ringmaster Francesco De Marco, but he had a change of heart.The actor start pondering the idea of performing alone and therefore decided to retain as a model of inspiration Gustavo De Marco, who was practicing in front of the mirror, toto, imitate without effort.The actor began to ponder the idea of performing alone and therefore decided to take inspiration to Gustavo De Marco, just become aware ready, decided to try at the Teatro Ambra Jovinelli, which at the time was the highest representation of the variety show, theater that saw great artists such as Ettore Petrolini, Raffaele Viviani, Gennaro Pasquariello, Alfredo Bambi.

Emotionally tense showed up, at the theatre owner, Joseph Jovinelli, a rude man, known and respected because in the past had had a clash with a small boss of the local gangsters. The Short interview went unexpectedly well. She Debuted with De Marco's specettes:

 

The Beautiful Ciccillo, Vipera, and Paraguay, who had a good success in public and an unthinkable enthusiasm on The Part of Jovinelli. Totò signed a contract, the owner often organized fake matches between Toto and boxer Oddo Ferretti. The consent of the audience not made up for the lifestyle of the artist, the pay was very low and couldn't even afford clothes elegant and refined accessories or a hairstyle characteristic to Rudolph Valentino. Toto during that time he befriended a Barber, Pasqualino, who having knowledge in the theatrical field young man managed to do it with pity by the hardship cast by the owners of the theatre Hall Umberto I. So I renew his theatrical Kit Totò (which until that time was composed of a single length of scene very consumed); a worn bowler hat, a tight too loose, a shirt with the collar down, lisa a shoe string tie, a pair of shorts and flared large ditch, colored stockings, flat shoes and black. The night started the actor gave his best, overindulging in facial gestures, pirouettes, and ubiquitous specks of Gustavo De Marco. Between shouts of Encore and applause, the experience at Salon definitive affirmation of Umberto I scored for Totò variety show, due to higher earnings, could finally afford fancy clothes and treat his physical appearance, with the slicked and sideburns to Rudolph Valentino. Before starting a show, always leered in the audience in search of bella on duty which dedicate her performance, which at times reached him in his dressing room during the interval, or at the end of the show. In 1927 he was hired by Achille Mack, owner of several companies; Toto joined before the company of which he was first woman Isa Bluette, one of the hottest starlets of the period, and then from 1928 to that of Angela Ippaviz; the authors were Luigi Miraglia, and anacletus Francini. In the first company he met Mario Castellani, destined to become one of the most loyal following behind him and appreciated. In 1929, while he was in La Spezia with the company of Achille Maresca, was contacted by the impresario Eugenio Aulicio to sign him in some shows of Mario Eats and Eduardo Scarpetta, was impressed in the public eye in Messalina where Toto improvised a skit in which he climbed on to the curtain making grimaces and slaps to the spectators, who went into a frenzy. Toto knows Liliana Castagnola, seeing some of his provocative photos in scene, was struck.

the sciantosa, until that moment had been the subject of worldly chronicles; He was expelled From France on charges of having led two sailors to the duel, and one of his jealous lovers took his own life after firing two gunshots, one of which had injured her in the face Leaving her a fragment of bullet that caused her severe pains and for which she assumed tranquileners. Because of the scar, though mild, she adopted her hairdo, which covered her cheeks and forehead. The woman arrived in Naples in December 1929, signed by the Teatro Nuovo, and intrigued by the act of the Neapolitan artist, she presented herself one evening to a show. Toto did not miss the opportunity and began courted her, sending them to the retirement of the artists where she lived, bouquets of roses with a note of admiration, to which she answered with an invitation letter. These Were the beginnings of an understanding and tormented romance. The Castagnola Had For Totò A sincere and passionate feeling, looking for a stable and safe relationship. After the first period started the problems of jealousy: Totò couldn't stand the idea that Liliana during her tour, was courted by many admirers, and this led him to think of any cheating. Both were victims of gossip, which led the woman into a deep depression, and their relationship deteriorated. Liliana, heightening a sense of attachment to her man, just to remain next to be cast in his own company; but Toto feeling oppressed by the woman's behavior was often on the verge of leaving her, until he decided to accept a contract with the company of the soubrette "Cabiria", that would take him to Padua. The conclusion was that Liliana, feeling abandoned by loved, committed suicide by ingesting an entire tube of sleeping pills. Was found dead in his hotel room, with his side a farewell letter to toto:

 

« Antonio, You can give My sister Gina all the stuff I leave in this pension. You Better enjoy it, rather than who ever loved me. Why didn't you want to come and say goodbye to me for the last time? Rude, Omaccio! Did you make Me happy or unhappy? I don't know. I'm shaking my hand right now. Ah, if I were close! You'd save Me, right? Antonio, I'm as calm as ever. Thanks for the smile you've been able to give to my gray and wretched life. I'il Never look at anyone. I swore at You and I keep. Tonight, coming back, a black cat has passed me before. And, now, as I write, another black cat, down the street, Meagola constantly.

That's a stupid coincidence, right?... Goodbye. Lilia tua »

 

Toto, who found the woman's unconscious body the next morning, was shocked; the burden of responsibility, the not having understood the intensity of her feelings and remorse for having thought "he had many men, they may have it without taking any Responsibility ', accompanied him throughout his life, so much so that he decided to bury it in the chapel of De Curtis in Naples, in the tomb above his, and decreed that, if he had a daughter, instead of baptiing her with the name of her paternal grandmother Anne, would give her the name of Liliana, which then actually did with his daughter Liliana De Curtis. Toto would also keep a handkerchief soaked with rimmel who picked up on the morning of the discovery of the body of David, with whom she probably wiped her tears, waiting to die. Regarding the commitment already taken, that same night he left for the tour with the company in Padua. It was March of 1930. Back in Rome the following month, he performed again in numerous shows at the Umberto I, where to redeployed his repertoire of impersonations and new creations, by also playing Charlot, as humble tribute to Chaplin. He then returned to work with the impresario Mack, where he began a new tour presenting the achievements of previous years. In 1930, the year of the advent of talkies, Stefano Pittaluga, who produced with Cines La canzone dell'Amore (the first Italian sound film), was looking for new faces to take on the big screen. The comic talents of Totò he escaped and, as it was in the process of producing a film called the thief wretch, caused him to audition. The film never saw the light, also due to the fact that the Director would have wanted the actor Totò imitating Buster Keaton idea that doesn't much like. On tour in Florence he met the then 16-year-old Diana Rahmath Manzil (the young age of the girl initially aroused some reluctance on the part of toto), with whom he had a daughter who, in honor of the late Castagnola, named Liliana. The 1930s were a period of great success for the comedian who, despite the very high gain, felt said: led on stage, along with his first shoulder William English (later was Eduardo Passarelli), numerous shows throughout Italy. On the trail of scripts often approximate, Toto was able to unleash the creative resources of his surreal comedy, with grotesque and Wiggles/linguistic inventions, interpreting gestures also Don Quixote and disguising himself even soubrette; He learned the art of strolling players, namely those actors who played without a script well set up (many specks the reproposed then in his repertoire: "the fool", "the surgeon", "dummy"), to which Toto added its own characteristics , ready to mock the mighty as to exalt the needs and primary human instincts: hunger, sexuality, mental health. Of course, as suited to the style of Totò, all expressed with puns never transcend into vulgarity. To shape its form of expression, was the fact of having lived for years in poverty, in fact he himself was of the thought that "poverty is the script of true comedy ..." that "you can't be a real comedian without having made war with life". Acquired thereby a its original personality of acting, becoming a major player of the season curtain-raiser. In 1933 he adopted by Marquis Francesco Maria Gagliardi Focas, to inherit the long series of noble titles. The following year set up home in Rome with her daughter Liliana and his partner Diana Rahmath Manzil (for which he had an obsessive jealousy), who married in April 1935. It was at this time that some important personalities tried to impose it in film: among them Umberto Barbaro and Cesare Zavattini, who sought to place it in the part of ' Blim ' in the film Darò un milione di Mario Camerini-role went then to Luigi Almirante. The true debut was in 1937 with Latch with hands!: the producer Gustavo Lombardo, founder of Titanus, engaged Toto after noticing while dining in a restaurant in Rome. The direction was entrusted to Director Gero Zambuto. The film was not a great success; designed by very scarce, the primary intention was to offer the public an alternative of the Italian character of Charlot, Chaplin. In 1938 Totò was the victim of an accident: he had a traumatic retinal detachment and lost sight in his left eye, which were aware that only close family members and friend Mario Castellani. Despite this accident, found the strength to commit again briefly at vaudeville Theatre, whose glorious era for him, sadly came to an end. In the meantime, due to the fact that it felt like smothered by marriage and also causes her overwhelming jealousy towards the young wife (they say that would take even closed the dressing room while he was performing), her married life went into crisis. He decided therefore to return Bachelor and agreed with Diana for separation. In Italy there was no possibility of divorce, so they had to get the dissolution abroad in Hungary, so it was then cancelled in Italy. After cancellation, the two continued to live together, moving to Viale dei Parioli, with her daughter. After the catch with your hands!, which was not very satisfied with Toto, there was, in 1939, a second attempt, which was initially problems for production costs: crazy animals by Carlo Ludovico Bragaglia, where Toto played a double role. Also his second film was not entirely successful, although the actor used to its full potential "puppet". At the end of 1939, toured in Massaua and Addis Ababa, Ethiopia, accompanied by Diana Rahmath Manzil, Eduardo Passarelli and Lourdes Fiamma soubrette, presenting the show 50 million ... There's crazy!, written with William English and already shown to the public Italian years earlier. Once back at home she played its third film, San Giovanni decollato, which was scripted by Cesare Zavattini, among others, to whom was entrusted the direction from producer Liborio captains. Zavattini though not if the felt and the task became Amleto Palermi. The film was a critical success: some comments on the Movie and magazine L'Espresso praised the acting of Totò, his expressiveness, his puns and articulated his movements.Zavattini, who holds artistic admiration towards the actor, wrote for him the subject Totò il buono, who never became a movie but served to screenwriter for the film miracle in Milan (1951), Vittorio De Sica, with whom he established one of the most famous partnerships of Italian neorealism. The fourth film was the cheerful ghost always Amleto Palermi, where toto were left three different roles.Filmed in the fall of 1940 (released later in October ' 41), was the last film that played before his return to the theater. These early experiments surreal film did not achieve the success that Toto had on stage.

when he returned to the theatre, at the end of 1940, the avant-garde was already set, replaced by the "magazine", a theatrical genre born In Paris and the character (at least in the first period) purely satirical-as granted by the Fascist regime-presented In the form of scenic actions rich in allusions and spicy hints. At that time Italy had recently entered the war and the iron censorship of fascism was very attentive to any ambiguous joke or negative hint on the Government of Mussolini. Totò debuted At The Quattro Fontane Theatre In Rome with Mario Castellani (from that moment his ideal "Shoulder") and Anna Magnani (Primadonna), with whom he established a solid artistic and human relationship. the magazine Was when you least the Aspects Of Michele Galdieri, one of the great writers of theatrical magazines Of the Forties. Toto clasped with Galdieri a nine-year-old fellowship, with performances also written by the actor himself and staged by the Impresarians Giant Helium and Remigio Paone; among the best known magazines: When you least expect it, Orlando Volumineide, curious, Who are you wearing? and a halfpennyDue to the war, were difficult times for the theater, to the lack of means of transport, the prohibition of movement of private cars and especially for the bombings, particularly in Milan, where the shows were often interrupted and actorsthey were forced to move away to the nearest shelter, without having the time to take off the costumes. It was the period when Toto was hired by a slot in the cinema Film to reopen Cases and take part in a new film which included also starring the Boxer Primo Carnera, two hearts among savages (redistributed after the war as Toto in the pit the lion's den), directed by Giorgio Simonelli, who was filmed with authentic animals. In May of ' 44, C magazinehe did you put on your head (which should have been called That they put on your head?, a clear allusion to the German occupants) created problems to the Neapolitan comedian, that after the first performances at the theatre Valle in Rome, was first intimidated with a bomb at the entrance to the theater, then denounced by the police, together with his brothers Dahl, with a telegram from the German command addressed to the Prince, that theater Totò McCrea; He was warned by an anonymous phone call. To avoid arrest, Totò, having alerted the brothers De Filippo, took refuge with his ex-wife Diana and daughter at a friend's House in via del Gelsomino near the via Aurelia, on the far western suburbs of Rome, while Daigle hid themselves away in Joshua Banks. After a few days he had to leave the House anyway, Toto for the fact that many of his admirers had acknowledged, and then the Hideout was no longer safe. Returned to Rome, where were the parents, and segregò in the House until June 4, the day of liberation of the capital (according to various witnesses would also greatly contributed to funding of the Roman resistance). The June 26 shooting to recite: returned to the teatro Valle with Magnani in new magazineWith a halfpenny, in which he gave free rein to his satire as il Duce (under the guise of Pinocchio), and Hitler, which desecrated after the assassination of 20 July 1944, by representing it in a ridiculous attitude, with one arm in a cast and the mustache that made him ticklish, and sending the entire audience into ecstasy. In 1945, after some exhibitions in the capital, in Siena and Florence, staged the magazine accused, let's wake up! (where she was a caricature of Napoleon), Totò was approached at the end of the show by a partisan who, upset by his joke communalities response ironically fascists and partisans, punched him in the face with his fist. Totò, course immediately to the police station to report the matter, decided to let it run without complain. At that time the artistic association with Anna Magnani was interrupted, when the actress turned to the large international audience playing the role of commoner Pina in the film Rome, open city, directed by his comrade Roberto Rossellini.Toto instead continued on his way by continuing with the cinema and theatre and carving his single disc 78 rpm as a singer, performing songs not sue: Marcello on beautiful in side A and in Toyland-where he was assisted by Mario Castellani-in side b. After his father's death (which occurred in September ' 44), Giuseppe De Curtis, Totò alternated between 1945 and following years theatre and cinematography, dedicating themselves to creating your own songs and poems, but also a good read, especially diligendo so Luigi Pirandello. He played his sixth film, the rape of the Sabine women, with Director Mario Bonnard, a film that was welcomed by some adverse criticism, like that of Vincenzo Talarico, who crushed the actor "hoping that fell soon into the ranks of the theater of the magazine. "Then there was the two orphans, written by Steno and Agenore Incrocci and directed by Mario Mattoli, with whom Toto played another three films between ' 47 to ' 49: Fifa e arena, Totò al giro of Italy (the first movie featuring his name in the title) and pom pieri of Viggiù (all to good success and recessed); also, it was the time of the magazine once upon a time the world of Galdieri, composed of sketches were famous, such as that of the sleeping car, with toto beside Isa Barzizza, la soubrette who debuted in the film the two orphans and that he wanted to in the magazine, and Mario Castellani, the faithful "shoulder" that accompanied him also in the cinema, taking part in nearly all his films right at the behest of Totò who, when there were no roles available, the required as Assistant Director.

the magazine once upon a time The world was so successful that it was Also presented in Zurich, performed in Italian but equally acclaimed by the Swiss public for the comic genius of the sketches.Often The magazine shows Totò ended with the classic "catwalk", with the comedian who ran in the audience with a feather on the Bowles, the rhythm of the Fanfare of the Bersaglieri (skit reproposed in the Film the firefighters Of Viggiù). In October 1947, during reruns of the magazine, Totò 's mother died. Despite the great pain of losing both parents, the actor mixed work and private life, continuing to be the comedian Totò in the show and the wistful Antonio De Curtis outside. He opened a small parenthesis as a voice actor, lending his voice to the camel Gobbone in the movie the Virgin of TripoliBefore you return to the movies, went to some concert tours in Barcelona, Madrid and other Spanish cities, where he played in Spanish (without having fluency) with Mario Castellani in the magazine Entre dos luces (between two lights), improvising a song non-sense to somewhere between Spanish and Neapolitan. Back in Italy, he also had a small role in advertising, by being paid Seven magazine photograph which promoted Arbell fragrances. Since he entered the world of cinema, the films were abundant appeared before, and many of them were not even made for production problems or for his resignation. Some were being filmed at the same time, in very short times (most of them in two or three weeks) and often improvised on set, sometimes it was just the crew who was Toto in the cities in which he starred at the theatre. The actor, due to laziness, was always very hasty when the projects were proposed, and being deeply instinctive often didn't want to know anything about the film that was going to play, then its creative. So, as on the stage, gave free rein to improvisation: the script was just a shy dish towel for the actor, who was at the time the gags and jokes; thus however also were some of his most cinematic scenes famous.

"he was unpredictable... She recated her arm, "testified Nino Taranto; "Some of his crazy improvisations during the acting were ingenious and irreplaceable," Vittorio De Sica expressed instead. According to some comments, instead-like those of Carlo Croccolo, Giacomo Furia and Steno-Totò locked himself in his dressing room to try and retry his jokes before the show or filming, rereded the script and modified the passages that did not convince him, Together with his friend Mario Castellani and the actors involved. The differences between theatre and cinema initially created not a few riots for the actor, who, having formed with the theatrical style and then with a single live performance, after the first take tended to lose the concentration. It was therefore to be caught "on the fly" in order to be able to recite to the maximum; so the troupe had to worry about fixing the lights and preparing the scene with a stunt, also doing some testing. When everything was ready, you could have Totò intervene. Another of the differences between the two art forms, of which the comedian suffered a lot initially was the fact of not being able to communicate directly with the public, one of the details that he most loved in the theater. Because of that, usually, the filmmakers (notably Bragaglia, with whom he established a strong artistic relationship) and the 3 crew members after the stop with a round of applause, so give it greater loads and enthusiasm. Another drawback was the times: Totò, accustomed to the theatrical times, did not get up never before noon as an advocate of the theory that the actor "in the morning may not be funny," ran in the so-called French time, from 13 to 21. Tired then for long pauses and waits that cinema and also being very superstitious, he shut himself up in the House and not worked ever on Tuesday and Friday, 13 or 17.Factors which created many problems for the shoot. Particular there were complications for Totò al giro of Italy, where many famous cyclists were involved as Bartali, Coppi, Bobet, Magni; the actor, not arriving on time, created difficulties. 1949/1950 season gained its last success at the theatre with the magazine will ensure you eat you!, cost fifty million, which premiered at the teatro Nuovo in Milan in March of ' 49, then Totò walked away from the stage to devote exclusively to cinema.

after the firefighters of Viggiù, he also worked with Eduardo De Filippo in his film Napoli millionaire, who agreed to interpret without compensation, in sign of the affectionate friendship that bound him to Eduardo. The two actors, although they later designed other movies to do together, they had no more rincontrasi on the set mode, only appeared in episodes several talking l'oro di Napoli by Vittorio De Sica and made a brief cameo talking the shortest day. In 1950 Totò renounced proposal to play a role, along with the French Fernandel, French-Italian film Atoll K, where he would have the opportunity to play along with Stan Laurel and Oliver Hardy, the famous comic couple known in Italy like Laurel and Hardy. Between 1949 and 1950, as well as Napoli milionaria, he played well the other nine films, including some parodies: Totò le Moko, Totò cerca moglie, Figaro qua, Figaro là, Le sei mogli di Barbablù, 47 morto che parla, all directed by Carlo Ludovico Bragaglia, then the Emperor of Capri by Luigi Comencini, Totò Tarzan and Totò sceicco (where he took a fancy to actress Tamara Lees) by Mario Mattoli, Yvonne la nuit by Giuseppe Amato, Totò cerca casa of Steno and Mario Monicelli, an effective parody of neo-realism on the housing crisis, which caused a bit of indignation by the censorship. These films (such as more, some less) had a good success, but not critical, that since the preceding films began to dislike the surreal style of toto. Commenting ironically these adversities from critics, Prince remarked that probably had "tainted with the growth". His parents died he was initiating family imbalance: in 1951, following a violent quarrel Diana Rahmath Manzil, went home and married; just as he did, just come of age, and against the will of Totò, his daughter Liliana, joining in matrimony with Gianni Buffardi, stepson of film director Carlo Ludovico Bragaglia.Toto was left alone, and in that short time he wrote the famous song "Malafemmena", who conceived during a break from working on his new film toto the third man, which will be followed by seven hours of trouble. The song seems to have written to his ex-wife Diana, which was still very attached, but the newspapers of the time claimed that she dedicated to Silvana Pampanini, an actress with whom she starred in 47 morto che parla and to which, at that time, was courting sending bunches of roses and boxes of chocolates, coming to ask even in marriage (one of the reasons for the abrupt parting with Rahmath Manzil), the woman but pushed him away. Aside from the darkness and disappointments, 1951 was an important year for the actor's film career. After the success of Totò cerca casa, was recalled by Steno and Mario Monicelli to play the role of thief Ferdinando Esposito incops and robbers, alongside that actor who was one of his most loyal friends and one of his best "shoulders ", able to respond blow by blow to sudden and" aggressive "jokes of Totò, Aldo Fabrizi. Forcops and robbers Totò was at first reluctant, the role offered was finally real, different from his previous characters and inserted in a much more dramatic. The film was initially problems with censorship, but newly released in theaters was a unanimous success: high grosses, great appreciation from audiences and unexpected acclaim from critics. That same year, she had always directed by Monicelli and Steno, Totò e i re di Roma, the only film that saw him acting with Alberto Sordi. The following year he was awarded a Silver Ribbon for her performance in cops and robbers, and the work was presented at the 1952 Cannes Film Festival, where it won the award for best screenplay in the year in which the actor he contributed to are we men or corporals?, his biography (which stops in 1930-following the suicide of Liliana Castagnola) curated by Alessandro Ferraù and Eduardo Passarelli. Toto impersonates Pinocchio in the film Totò a colori (1952), proposing some Speck movements de bel CedenoIn 1952 Totò was impressed by a young on the cover of the weekly magazine "Oggi", Franca Faldini. The sent a bouquet of roses with a note: "watching her on the cover of" Today "I felt burst into heart spring», then telephoned to invite her to dinner, the girl accepted only when Toto was able to be present. The 21-year-old, had recently returned, Fahad just from the United States, where he had taken part in the film focused on sailors! with Dean Martin and Jerry Lewis. After dating for about a month announced their engagement. Although remain together until the death of the artist, their relationship, which never arrived at the wedding, was on the verge of being cut off, because they are two very different temperamentally people; one reason, among other things, was the difference in the age of thirty-three years. The situation of living together without a marriage bond created a scandal at the time, so much so that a few years later, the two, tired of being harassed by paparazzi and journalists (who called them "public partners"), were forced to pretend to be United States in marriage abroad, a gimmick that still did not work to the end. Franca Faldini also appeared in some films, the first in which he participated was where's the freedom?, by Roberto Rossellini, who having appreciated Totò in cops and robbers, hired him for his film. Not flowed as expected, was filmed in 1952 and was released theatrically two years later, due to the fact that while filming Rossellini film is disinterested and drove away often from the set. Many sequences were filmed by Director Lucio Fulci, and they seem to have had a hand also Mario Monicelli and Federico Fellini. Together with Faldini, swung then Totò e le donne, again directed by Steno and Monicelli, where she played for the first time with Totò Peppino De Filippo, with whom he formed a popular Italian cinema couple. After Steno and Monicelli fell apart, both realized, each on its own behalf, other films with Totò. The first used his surreal comedy, the second continued on the humanization of the character (started with cops and robbers). The first peak reached by Steno was Totò a colori -hit and sky-high returns one of the first Italian color film, shot with the system "Ferraniacolor Monopack", in which were presented some of his theatrical sketches, how to Pinocchio or sleeping with Carlos and Isa Barzizza. During filming, toto, because of powerful lights used on the set (which actually caused a slight inflammation of the hair) and to its already precarious view, began having more issues, until passing out after pains accused the eye right, the only one with which he saw as the other had, in 1938, a retinal detachment.

He went on to work anyway. In 1953, following some illustrations of Toto the voucher drawn by screenwriter Ruggero Maccari on illustrated Time, were (with the obvious consent of the actor) printed and distributed comic strips of Toto, represented naturally in form Caricatual, collected in a necklace called simply Toto in comics, which illustrated stories loosely inspired by some of his theatrical performances. The series was published by Edizioni Diana of Rome. in 1954, a piece of Music, with you, Dedicated To Franca Faldini, was presented At The Sanremo Festival, ranking at the 9th place in the final ranking. The song was played by Achille Togliani, Natalino Otto and Flo Sandon's. In the same year, the newspapers announced that Totò would interpret a silent film written by Age and Scarpelli, unfortunately the project was soon cancelled for the refusal of the producers.Making a film like this would be a great satisfaction for the comedian, who said: "my dream is to make a silent movie, because the real actor, like true love, to express needs no words '; and it was during a vacation on the French Riviera, in an unspecified period in the 1950s, he had a unique opportunity to meet none other than the master of silent Charlie Chaplin, when his yacht himself by accident next to the boat the English artist. But Toto has always blocked by insecurity and inferiority complexes, and thinking that the other wouldn't have recognized for its low popularity abroad, he gave up to greet him. Between 1953 and 1955 he played seventeen films, he worked again with Steno in L'UOMO, la bestia e la virtù (from the play by Luigi Pirandello), where the cast was also featured Orson Welles, then with Mattòli talking funniest show the world (one of the first Italian 3D film), and Scarpetta Trilogy: Un turco napoletano, Miseria e nobiltà e Il medico dei pazziHe was also called by his friend Aldo Fabrizi who wanted to film one of thosealongside Peppino De Filippo, Lea Padovani and Fabian;the film (later redistributed as Totò, Peppino e ... one of those), dramatic and sentimental tone, did not achieve the expected success. He met again with Monicelli, with whom he turned Totò e Carolina, movies released in theaters after a year and a half after the end of the process because massacred by cuts of censorship, which was bothered mainly by overt Communist references and the fact that Toto interpret a COP, and Moreover in an attitude that tended to ridicolizzarsi. He founded the production company then D.D.L., whose registered office is at your doorstep, linked to Dino De Laurentiis and the Chief of Totò, Renato Lalli. He had the opportunity to work with Alessandro Blasetti and even Camillo Mastrocinque, which turned many successful films. His private life does not quiet like the one show: Franca Faldini flowed, following a dramatic birth, she gave birth to the son of Totò, Maxentius; the baby, born eight months, died after a few hours. Overcome the pain of the loss of his son, to whom Toto reacted badly and locked themselves in the House for weeks, in 1956 he returned to the set playing chain four films by Camillo Mastrocinque, who reached the highest point of its partnership with the actor directing it in toto, Peppino and the ... malafemmina (where you place the note "letter") and La banda degli onesti, written by Age & Scarpelli and played along with Peppino e Giacomo Furia. But the temptation to return to theatre won, and, prodded by the impresario Remigio Paone, appeared in the magazine apart (which took its name from a manner of speaking), which debuted at the teatro Sistina in Rome at the end of ' 56, and was taken on tour throughout It alia. In February 1957, in Milan, Totò was hit by a viral pneumonia, and despite the opinions of doctors who told him to rest, returned to the stage after a few days, this caused a fainting just before entering the scene. Doctors said at least two weeks of rest, but Toto returned to acting, performing in Biella, Bergamo and Sanremo, where he began to experience the first signs of impending disease.

on 3 May the situation rushed: while recited at The Teatro Politeama Garibaldi Of Palermo approached The Faldini (who had replaced the Actress Franca May and acted on the stage with him) whispering that he no longer saw; Counting therefore only on his Skills and support of the other actors, made sure to accelerate the end of the show. Despite the discomfort and total blindness, he tried to resist and, not to disappoint the public returned to the stage-with a pair of thick sunglasses-the evening of May 4 and, in two shows, 5. The interruption of the magazine was inevitable. Initially the doctors attributed the blindness to a problem derived from teeth, but eventually he was diagnosed with a bleeding right eye Chorioretinitis. The company's impresario, Remigio Paone, not believing him, demanded a visit also would have demanded that tax and Toto return to acting. Totò initially was completely blind, and even after the slight improvements and once absorbed the bleeding never regain full sight. He had to abandon the theater, while continuing with the cinema: in that year remained almost dormant and played only a movie, Totò, Vittorio e la dottoressa of Magnus, but his acting abilities, despite the illness, not deadened ever. The only problem was the dubbing, when some movie scenes were not filmed live, could not doppiarsi because it was not able to see themselves on the screen and could not synchronize the beats with the lip movement; at such times, it was voiced by Carlo Croccolo. Due to economic problems was forced to sell some of its properties, and then decided to stay for a few days in Lugano, planning to move there permanently for tax reasons, but returned to Rome and moved into a rented apartment in Viale dei Parioli with Franca Faldini, who remained close, along with his cousin Eduardo Clemente, who had him as Secretary and factotum, and his driver Carlo Cafiero, who usually accompanied him on set. While not growing much interest in the field of television, in ' 58, he accepted an invitation as guest of honour in the program On Musichierecondotto by Mario Riva, with whom he had worked years before in several short films and theatre magazines. When transmitting Totò let escape a «Viva Lah! ", referring to Achille Lauro, the then Popular Monarchist Party leader; this unwelcome, even jocular, political considerations, cost him a move away from the small screen (saving some interviews in private) until 1965, when he paired up with Mina in Studio One. After the forced departure from television, resumed working in cinema. Also in ' 58 French actor Fernandel starred in the law is the law and, among other films, he participated in the famous film I soliti ignoti by Mario Monicelli, interpreting the burglar retired Dante Cruciani and reciting, among others, Vittorio Gassman and Marcello Mastroianni. At that time he was awarded the silver microphone and then a gold plaque from ANICA, for his contribution to Italian cinema and for his long career. In ' 59, his health deteriorated during the making of the film La cambiale relapsed and not worked for two weeks, before I finish shooting.Following the advice doctors permitted himself some months of rest, and after recovering he sent his song, Piccerella Napulitana, 1959 at the Sanremo Music Festival, but was rejected, along with another by Peppino De Filippo. Toto still agreed to fill the post as President of the jury at the Festival, following the insistence of Ezio Radaelli, rejecting among other things a large daily payment;However, after a disagreement with the rest of the Committee, left early. Right at the peak of success, the American artist agency Ronald a. Wilford Associates of New York wanted to sign him for a show to represent in America, along with Maurice Chevalier, Marcel Marceau and even Fernandel. Of course Toto didn't felt and preferred to remain in Italy to continue in a more "relaxed" with cinematography by refusing so even though unwillingly, an important offer and a very high fee. In 1961, he was informed that he was winner of the Grolla d'Oro, with the motivation: "film of merit for many years honored the creativity and genius of Art». But his health and his commitments allowed him to attend the award ceremony in Saint-Vincent and Nirvana was assigned to another actor. Despite the illness, Totò (always smoker) continued to smoke up to ninety cigarettes per day. He sought however to not impairing its already sizeable then film production; and for fear of losing their jobs and the affection of his audience, he began to accept any script: he opened a parenthesis with Director Lucio Fulci talking thieves and returned with Steno in the film I tartassati, again alongside Aldo Fabrizi, to which was added in a secondary role the French actor Louis de Funès. Although it was nearly completely blind (he saw only the sides of the eyes), had to wear a heavy pair of dark glasses that took off only for shooting, moved on the set with absolute ease and it was as if he comes back, just for a moment, to see; What that guy said:

 

"As soon as I hear the Ciak, I see everything. Is a nervous effect»

 

among the many films played in The Sixties, in addition to the numerous With Peppino and some With Fabrizi, of good success Were Totòscam 62 By Camillo Mastrocinque, Mr . And the bitter comedythe two marshals of Sergio Corbucci, then the two Colonels of Steno (remembered for the scene of the "Carte blanche") and laughter of Joy Of Monicelli, which marked an important Stage for Toto, since it was the only time he acted on the set with the friend and historical companion Of Teatro Anna Magnani There were then the parodies, as Totò contro Maciste, Totò e Cleopatra and Totò contro il pirata nero di Fernando Cerchio, comedy films were mythological reinterpretations that Peplum, to which were added That happened to Toto Baby? (explicit parody of what ever happened to Baby Jane?) by Ottavio Alessi and Totò diabolicus of Steno, the latter a parody like yellow-detective story where Totò conceived one of his most complex and successful acting abilities tests, giving countenance and features in six different characters. In addition, the fame that Totò boasted among the public, which has always exploited by the producers, it was used as a kind of advertising vehicle or for singers like Johnny Dorelli, Fred Buscaglione, Rita Pavone, Adriano Celentano, and for smallactors like Pablito Calvo, interpreter of Marcelino Pan y vino, she then in Totò e Marcellino. He explored the night strand-sexy with Erminio Macario in Totò di notte n. 1 and Toto sexy, two films more spotty career. In January 1964 was advertised on the news of the release of its 100th movie, billed as his first entirely dramatic, Cmdr. Directed by Paolo Heusch and written by Rodolfo Sonego (writer of trust by Alberto Sordi), called for a total of eight weeks of work, more than double than the average film Totò. The news gave rise to celebrations and accolades, toto received even the "Golden Mermaid" and international meetings was welcomed by a round of applause, a few weeks later was interviewed by Lello Bersani, for Tv7, and Oriana Fallaci, for the European Championship. But despite everything, the film, which was actually the 86rd, proved a failure, published by Fausto Fiorentino di Napoli, published his famous poem ' A levels, which was originally called The two November, for which he also won an award. In 1965 he met a young Pasquale Zagaria, vaudeville performer, had been advised by the owner of the theater Jovinelli contact Toto in order to find work in movies. On that occasion, Totò prompted him to change his stage name which was Lino Zaga, explaining that the diminutives of names would lead well and those surnames wore badly. Since then the young actor he bestowed the name of Lino Banfi. Its almost out of time, at the height of his career, reached important proposals from filmmakers such as Alberto Lattuada, Federico Fellini and Pier Paolo Pasolini. With the first one did, in ' 65, the movie the Mandrake, in the role of brother Timothy, who played brilliantly. The second would have wanted for the film the voyage of g. Mastorna, where they were provided also starring Franco Franchi and Ciccio Ingrassia, Mina. Working with Fellini had always been one of the greatest ambitions of toto, but unfortunately the film was never made. The meeting with Pasolini, instead, was one of the most important and unexpected twists of the entire movie career of toto. The first work together was the hawks and the sparrows, which fully accepted without sharing his character Toto and the poetics of Director; now his main intention was to produce quality works, for the usual fear of being forgotten by the audience. Pasolini chose him because he was fascinated by his "mask", which brought together perfectly "the absurdity and the clownish with immensely human."

for the first Time Totò, during the working of a film, felt somewhat damped, at the behest Of Pasolini who left little room for his lazzi and his improvisations, compared to how he was usually accustomed to other filmmakers. Uccellacci and Birds, a work of great poetic strength, was the subject of discussions and controversies, even though it was almost unanimous recognition of the great interpretation of Toto, who, praised by critics, obtained a special mention of the Cannes film Festival and its second silver ribbon, and, to express its satisfaction, thanked the jury of Italian film critics through a brief written statement. before Returning with Pasolini, he obtained a Role In operation San Gennaro di Dino Risi, next to Nino Manfredi. In ' 67 He turned with Pasolini the short film the earth seen from the Moon, episode of the Collective film The Witches, taken From the story Of Pasolini never published the Buro and the Bura; Then what are the clouds?, an episode of the filmCapriccio breakfast, where the actor also took part in another short of Steno.

 

It was his last films. He Was also called by Nanni Loy for his family's father, Again with Manfredi, in a role of an anarchist senior who lives selling socks and underwear to the companions of the Left; Film destined to be among the many projects not realized by Totò, because he turned the first scene (for unfortunate randomness, that of a funeral) and died two days later. Totò met the television as early as 1958, Along With Mario Riva In The musichiereprogram. He returned only in 1965, invited by Mina in the broadcast Studio Uno, participating in two episodes: in the first, immediately greeted by a long applause, presented his song Baciami, letting Mina sing while he intervened by doing counterpoint toWords of the song with some of his classic jokes. In the second episode, in 1966, he re-proposed an old sketch (Pasquale) with Mario Castellani. The skit was then engraved, along with the poem ' A level, in a disc 33 Rev of the actor. In his last period of life, placed in the works a few carousels and a tv series called All toto, comprising nine telefilms curated by Bruno Corbucci and directed by Daniele D'anza. The series, the brainchild of Mario Castellani, was to be initially conducted by Michele Galdieri (the author of many magazines of toto), but died before it started working. The actor worked no more than four hours in the afternoon, but was still able to master the scene. The loop aired after his death, from May to July of ' 67, then replicated ten years later. Was the positive public reception, cooler than that of critics, who stressed that the comedy of Totò appeared at best as hasty and approximate realization. A few days before his death, toto said to close bankrupt and that no one would remember, declared that he had not been up to the infinite possibilities that the stage offers (referring clearly to his true and only passion, theater) and bemoaned the fact that he could do much more. Died at his home in Via dei Monti Parioli, 4; at 3:30 a.m. (the time at which it was usually bedtime) of 15 April 1967, at the age of 69 years: he died of a heart attack after a long agony, so painful that he begged the family and the doctor to let him die. On the evening of 13 April confessed his driver Carlo Cafiero: «Cafie ', I do not hide that tonight I feel a real crap ". According to his daughter Liliana, his last words were:

 

"Remember that I am Catholic, Apostolic, Roman," while Franca Faldini said:

 

"T'aggio wanted well Franca, very much."

 

Although the actor had always expressed the desire to have a simple funeral, he even had three. The first in the capital, where he died. His corpse was watched over for two days by the main personalities of the show and not, arrived from all over Italy to commemorate and regret it. It Was accompanied by more than two thousand people in the church Sant'Eugenio, on the Tiber, where the funeral ceremony took place. Among the personalities of the show featured, inside the Church noticed Alberto Sordi, Elsa Martinelli, Olga Villi, Luigi Zampa and Luciano Salce; also the directors who had always ignored, and critics who had opposed and considered an artist unsubstantial and vulgar. On his coffin were placed the famous bowler with whom he debuted and a red Carnation, the ceremony is merely a simple blessing because of the difficulties created by the religious authorities, because the claimant was married with Franca Faldini, even was made out of the House while the priest blessed the coffin of toto. The second was held in Naples, his hometown, to which he was particularly fond of and her greatest joy would be right back there, so it was: The 17 April in the afternoon the coffin departed towards the city, escorted by about thirty cars. The city suspended from 16 at 18.30 every activity, interrupted traffic, the walls of the streets were filled with posters of condolence, the shutters of the shops were lowered and half-opened the doors of the buildings as a sign of mourning. Among the other characters in the show and close friends, to await the coffin, there were brothers Nino and Carlo Taranto, Ugo D'Alessio, Luisa Conte, Dolores Palumbo. Due to the large turnout, the truck carrying his body took two hours to reach the Church of Sant'Eligio where burials took place facing the crowd of about 250 000 people, including flags, banners & crowns. The funeral oration was given by Nino Taranto:

 

« My Friend, this is not a monologue, but a dialogue because I am sure that you hear me and answer me, your voice is in my heart, in the heart of this Naples, who came to greet you, to say thank you because you honored her. Because you have never forgotten, because you have succeeded from the stage of your life to shake them off that cloak of melancholy that envelops it. You friend made your city smile, you were great, you gave her the joy, the happiness, the joy of an hour, of a day, all of which Naples needs so much. Your Neapolitan, your audience is here, he wanted his Totò to make Naples the last "exhausted" of his career, and you, you master of good humor this time you're making us all cry. Farewell Totò, Farewell my friend, Naples, this your Naples grief-starved wants to let you know that you were one of his best children, and that will never forget you, Goodbye my friend, goodbye Totò. »

 

After The funeral ritual, the authorities were forced to release the corpse from a secondary door, in the basilica followed scenes of panic and even fainting; There were four wounded, two women and two agents, following the enormous turmoil caused. The body of Totò was thus escorted by police bikers to the Cemetery of Weeping, where to wait there were Franca Faldini, his daughter Liliana with her husband, Eduardo Clemente and Mario Castellani, who because of the overflowing crowd decided not to attend the Religious function and reached the cemetery directly by car. Toto was buried in the family tomb next to his parents, the small Maxentius and the beloved Liliana Castagnola.

The Third Funeral wanted to organize a chief Guappo of the Rione Sanità, in his neighbourhood, which was held on May 22, that is, a few days after the Trigesimo; It adhered to an equally large number of people, despite the coffin of the actor was obviously empty Eduardo De Filippo, with a participated article, reminded him of the pages of the daily Country Evening on the day of his disappearance.

 

Performances

 

1928: Madama Madness Of Ripp (Luigi miraglia) And Anacleto Francini

 

1928: The Paradise of women

 

1928: A Thousand and one women

 

1928: Round 

 

1928: Sins.... and then Virtudi

 

1928: Yes, yes, Susettte

 

1928: the star Of Charleston

 

1929: Monna Eva

 

1929: The jousting of Love

 

1929: Messalina di Kokasse (pseudonym of Mario Mangini) and Maria Mascaria (pseudonym of Maria Scarpetta, daughter of Eduardo Scarpetta)

 

1919: Santarellina

 

1929: Misery and Nobility

 

1929/ Love and Cinema

 

1929/ The trial Of Mary Dè Can

 

1929/ Bacchus, Tobacco And Venus

 

1930/The Three Musketeers

 

1931/ The vile seductress 

 

1931/ the Virgin Of Buddha

 

1932/ New colors

 

1932/ laugh that passes you

 

1932/He was, yes... Yes! It was her! No... No!

 

1932/ The Indian virgin

 

1932/ Totò, Charlot for Love

 

1933/ Al Parrot 

 

1933/ This is not sleep

 

1933/ The World is Yours, Written By Antonio De Curtis And cliquette (Pseudonym Of Diana Rogliani)

 

1933/ The band of the Yellow

 

1933/ from stocking to dollar

 

1933/ the Great Othello

 

1934/ The Living mummy

 

1934/ The three moschietteri

 

1935/ Beautiful or ugly I like me all 

 

1936/ 50 million.. it's crazy!

 

1936/ A terrible night

 

1937/ of the two who will be

 

1937/ Men at Freight

 

1937/ Ninety is scary

 

1938/ If I were a Don Giovanni

 

1938/ the Last Tarzan

 

1938/ It happens one night that...

 

1939/ between wife and husband, the mother-in-law and the finger, last avant-garde Written By Antonio De Curtis

 

1940/ When you least expect it... Written By Michele Galdieri

 

1941/ Volumineide, Written By Michele Galdieri and staged By The Theatrical Company Errepi Of Remigio Paone

 

1942 – 1943/ Orlando Furioso, Written By Michele Galdieri and staged By The Theatrical Company Errepi Of Remigio Paone

 

1943/1944/ Aria Nuova, Written by Antonio de Curtis and staged By The Company totò Organized By Antonio de Curtis And Elio Gigante

 

1944/What Have you got in your head? Written by Michele Galdieri before the liberation of Rome and staged by the Company Big Magazines Totò-Magnani;

 

1944/1945/ with a palm of nose, Written By Michele Galdieri immediately after the Liberation of Rome, and staged By The Company Big Magazines Totò-Magnani;

 

defendants... Alziamoci, written By Michele Galdieri and staged by The Company Totò-D'albert Of Remigio Paone, With Lucy d'albert, Vittorio Caprioli And Alberto Bonucci;

 

 

1945/1946/ a year later, Written By Oreste Biancoli and staged By The Company Totò-D'albert Of Remigio paone, With Lucy D'albert, Vittorio Caprioli And Alberto Bonucci;

 

1946 – 1947/ We were Seven Sisters Written By Aldo De Benedetti, And Michele Galdieri and staged By His Companions Totò Of Romagnoli;

 

1947-1948/ Once upon a time the world, Written By Michele Galdieri and staged By The Show Company Errepi Of Remigio Paone

 

1949/1950/ Bada I'll eat you!, Written By Michiele Galdieri And Antonio De Curtis and staged By The Company Shows Errepi Of Remigio Paone

 

1956/1957/ regardless, Written by Nelli And Mangini

 

 Filmography

 

1937/ Stop with your hands!, Directed By Gero Zambuto

 

1939/ Mad animals, Directed By Carlo Ludovico Bragaglia

 

1940/ Saint John took off, Directed By Hamlet palermi

 

1941/The Merry Ghost, directed by Hamlet Palermi

 

1943/ Two hearts among the beasts, laughafter the war, with The title Toto in the Fossa dei Leoni, Directed By Giorgio Simonelli

 

1945/ The rape of the Sabine Women, republished after the war, under the Title Professor Trombone, Directed by Mario Bonnard

 

1947/ I due Orphans, directed by Mario Mattoli

 

1948/ Totò at Giro d'italia, Directed By Mario Mattoli

 

1948/ Fifa and Arena, Directed By Mario Mattoli

 

1949/ The firefighters Of Viggiù, Directed By Mario Mattoli

 

1949/ Yvonne la nuit, Directed By Giuseppe Amato

 

1949/ Totò seeks House, Directed by Steno And Mario Monicelli

 

1949/ The Emperor Of Capri, Directed By Luigi Comencini

 

1949/ Toto Le Mokò, Directed By Carlo Ludovico Bragaglia

 

1950/ Napoli millionaire, directed by Eduardo De Filippo

 

1950/ Figaro qua, Figaro là, Directed By Carlo Ludovico Bragaglia

 

1950/ Totò seeks wife, Directed By Carlo Ludovico Bragaglia

 

1950/ Tototarzan, Directed By Mario Mattoli

 

1950/ The Six Wives Of Bluebeard, Directed By Carlo Ludovico Bragaglia

 

1951/ 47 died third man, Directed By Mario Mattoli

 

1951/ Totò Third man, Directed By Mario Mattoli

 

1951/ Totò and the Kings Of Rome, Directed by Steno And Mario Monicelli

 

1951/ Seven hours of trouble, Directed By Vittorio Metz And Marcello Marchesi

 

1951/ Guardi and Thieves, Directed by Steno And Mario Monicelli

 

1952/ Totò in Colori, Directed by Steno

 

1952/ Totò and women, Directed by Steno And Mario Monicelli

 

1952/ The Man, the Beast and the Virtue, Directed by Steno

 

1953/ One of those, Directed By Aldo Fabrizi

 

1953/ A Turkish Neapolitan, Directed By Mario Mattoli

 

1953/ The most comedic show in the World, Directed By Mario Mattoli

 

1953/ This is Life, episode La Patente, directed by Luigi Zampa

 

1954/ Dovè la Liberta?, Directed By Roberto Rossellini

 

1954/ Our times – Zibaldone N 2, episode La Machine TheâA, directed by Alessandro Blasetti

 

1954/ Misery and Nobility, Directed By Mario Mattoli

 

1954/ The Doctor of the Pazzi, Directed By Mario Mattoli

 

1954/ The Three Thieves, Directed By Lionello De Felice

 

1954/ Totò Cerca pace, Directed By Mario Mattoli

 

1954/ L'oro Di Napoli, Episode Il Guappo, Directed by Vittorio De Sica

 

1955/ Totò And Carolina, Directed By Mario Monicelli

 

1955/ Totò all'inferno, Directed By Camillo mastrocinque

 

1955/ We are men or Caporali?, Directed By Camillo mastrocinque

 

1955/ Destination Piovarolo, Directed By Domenico Paolella

 

1955/ Il Courage, Directed By Domenico Paolella

 

1955/ Roman Tales, Directed By Gianni Franciolini

 

1956/ The band of the Honest, Directed By Camillo mastrocinque

 

1956/ Totò leave or Radoppia?, Directed By Camillo mastrocinque

 

1956/ Totò, Peppino and the... Malafemmina, directed By Camillo Mastrocinque

 

1956/ Totò, Peppino and I outlaw, Directed By Camillo mastrocinque

 

1957/ Totò, Vittorio and the doctor, Directed By Camillo mastrocinque

 

1958/ Totò, Peppino and La Fanatica, Directed By Mari Mattoli

 

1958/ The usual unsubs, Directed By Mario Monicelli

 

1958/ Golden legs, Directed By Turi Vasile

 

1958/ The Law and Law, Directed by Christian – Jaque

 

1958/ Totò In Paris, Directed By Camillo mastrocinque

 

1958/ Toto in the Moon, Directed by Steno

 

1959/ Toto, Eva and the Forbidden Brush, Directed by Steno

 

1959/ The Thieves, Directed By Lucio Fulci

 

1959/ La Cambiale, Directed By Camillo mastrocinque

 

1959/ Arrangatevi, Directed By Mauro Bolognini

 

1960/ US Duri, Directed By Camillo mastrocinque

 

1960/ Signori is born, Directed By Mario Mattoli

 

1960/ bed with three squares, Directed by Steno

 

1960/ Totò, Fabrizi, and the young people of today, Directed By Mario Mattoli

 

1960/ Laughter Of Joy, Directed By Mario Monicelli

 

1960/ who stops is lost, Directed By Sergio Corbucci

 

1961/ Totò, Peppino and... La Dolce Vita, directed By Sergio Corbucci

 

1961/ His Excellency stopped to Eat, republished With The title Dr. Tanzarella, personal physician of the...Founder of the Empire, directed by Mario Monicelli

 

1961/ Totòscam 62, Directed By Camillo mastrocinque

 

1962/ I due Marshals, Directed By Sergio Corbucci

 

1962Totò Against maciste, Directed By Fernando Circle

 

1962/ Totò Diabolicus, Directed by Steno

 

1962/ Totò And Peppino parted In Berlin, Directed By Giorgio Bianchi

 

1962/ The forgetful Of Collegno, Directed By Sergio Corbucci

 

1962/ Totò at night No. 1, Directed By Mario Amendola

 

1962./ The two Colonels, Directed by Steno

 

1963/ Il Monaco Of Monza, Directed By Sergio Corbucci

 

1963/ The shortest day, Directed By Sergio Corbucci

 

1963/ Totò versus I quattro, Directed by Steno

 

1963/ Totò And Cleopatra, Directed By Fernando Circle

 

1963/ The motored, Episode The watchful unknown, Directed by Marino Girolami

 

1963/ Totò sexy, Directed By Mario Amendola

 

1963/ Gli Honourable, Directed By Sergio Corbucci

 

1963/ The Commander, Directed By Paolo Heusch

 

1964/ What Happened Totò Baby?, Directed By Ottavio Alessi

 

1964/ Totò against the black pirate, Directed By Fernando Circle

 

1964/The Beautiful families, Bitter episode is can not die, Directed By Ugo Gregoretti

 

1965/ Totò D'arabia, Directed By José Antonio De La Loma

 

1965/ Latin lovers, Episode, love and Death, directed by Mario Costa

 

1965/La Mandragola, directed by Alberto Lattuada

 

1965/ Rita, American daughter, Directed By Piero Vivarelli

 

1966/ Uccellacci and Uccellini, Directed By Pier Paolo Pasolini

 

1966/ Operation San Gennaro, Directed By Dino Risi

 

1967/ The Witches, episode La Terra Vista dalla luna, Directed by Pier Paolo Pasolini

 

1968: Italian Caprice, Episodes of Steno's Sunday monster and what are the Clouds? by Pier Paolo Pasolini

 

 Film

 

the Virgin Of Tripoli, Voice Of Gobbone, the camel who narrates the events of the film

 

 Film Screenwriter

 

The Doctor of the Pazzi, directed by Mario Mattoli

 

Totò All'inferno, directed by Camillo Mastrocinque

 

Are we men or capals? Directed by Camillo Mastrocinque

  

Il courage, directed by Domenico Paolella

 

The two marshals, directed by Sergio Corbucci

 

 

Film Assembly

 

1953/ 10 years of our life, Directed By Romolo Marcellini

 

1955/ Carosello del var, Directed By Aldo quinti, And Aldo Bonaldi

 

1962/ The Italian has 50 years, Directed By Franca Maria Trapani

 

1964/ Italian Laughter, directed by various authors

 

1975/ A smile, a slap a kiss in the mouth, Directed By Mario Morra

 

1977/ Kolossal and the Magnificent Maciste, directed by Mario Morra and Antonio Avati

 

1978/ Totò anthology, Directed By Jean Louis Comolli

 

1980/ Super Totò, Directed By Brando giordani And Emilio Ravel

 

 

Television

 

The Fugitive, in the Role Of Don Gennaro La Pezza; The episode was derived from the screenplay for a film never made, The beasts

 

the handyman, theRole Of Mardocheo Stonatelli

 

Don Giacomino

 

the wager, in the Role Of Oberdan Lo Cascio

 

A. Ciak

 

Totò In Naples, in the role of an unauthorized guide, plays some poems

 

Nobel Prize, in the Role Of Serafino bill

 

 

Bibliography

 

Mario Monicelli, the Art of Comedy, curated by Lorenzo Codelli, Tullio Pinelli, Bari, Dedalo Edition