Totò

Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio(15 February 1898 – 15 April 1967), best known by his stage nameTotò(Italian:[toˈtɔ]), or simply asAntonio de Curtis, and nicknamedil principe della risata("the prince of laughter"), was an Italian actor, comedian, screenwriter, dramatist, poet, singer and lyricist. He is commonly referred to as one of the most popular Italian performers of all time. While best known for his funny and sometimes cynical comic characters in theatre and then many successful comedy films made from the 1940s to the 1960s, he also worked with many iconic Italian film directors in dramatic roles.
Totò was bornAntonio Vincenzo Stefano Clementeon 15 February 1898 in theRione Sanità, a poor district ofNaples, the illegitimate son of Anna Clemente (1881–1947), a Sicilian woman, and the NeapolitanmarquisGiuseppe de Curtis (1873–1944).His father did not legally recognize him, and Totò so regretted growing up without a father that in 1933, at age 35, he managed to have the marquis Francesco Maria Gagliardi Focas adopt him in exchange for alife annuity.As a consequence, when Marquis de Curtis finally recognized him in 1937 Totò had become an heir of two noble families, ultimately claiming an impressive slew of titles.
Totò's mother wanted him to become a priest, but as early as 1913, at the age of 15, he was already acting as a comedian in small theatres, under the pseudonym Clerment. His early repertoire mostly consisted in imitations ofGustavo De Marco's characters.In the minor venues where he performed, Totò had the chance to meet famous artists likeEduardoandPeppino De Filippo. He served in theItalian ArmyduringWorld War Iand then went back to acting. He learned the art of theguitti, the Neapolitan scriptless comedians, heirs to the tradition of theCommedia dell'Arte, and began developing the trademarks of his style, including a puppet-like, disjointed gesticulation, emphasized facial expressions, and an extreme, sometimes surrealistic, sense of humor, largely based on emphasizing primitive urges such as hunger and sexual desire.
In 1922, he moved to Rome to perform in bigger theatres. He performed in the genre ofavanspettacolo, avaudevillianmixture of music, ballet and comedy preceding the main act (hence its name, which roughly translates as "before show"). He became adept at these shows (also known asrivista–Revue), and in the 1930s he had his own company, with which he travelled across Italy. In 1937, he appeared in his first movieFermo con le mani, and later starred in 96 other films.
As the vast majority of his movies were essentially meant to showcase his performances, many have his name "Totò" in the title. Some of his best-known films areFifa e Arena,Totò al Giro d'Italia,Totò Sceicco,Guardie e ladri,Totò e le donne,Totò Tarzan,Totò terzo uomo,Totò a colori(one of the first Italian color movies, 1952, inFerraniacolor),Big Deal on Madonna Street,Totò, Peppino e la malafemmina,La legge è legge.Pier Paolo Pasolini'sThe Hawks and the Sparrowsand the episode "Che cosa sono le nuvole" fromCaprice Italian Style(the latter released after his death), showed his dramatic skills.
In his vast cinematographic career, Totò had the opportunity to act side by side with virtually all major Italian actors of the time.With some of them he paired in several films, the most renowned and successful teams being established withAldo FabriziandPeppino De Filippo. De Filippo was one of the few actors to have his name appear in movie titles along with that of Totò, for example inTotò, Peppino e la malafemminaandTotò e Peppino divisi a Berlino.
Partly because of the radical, naive immorality of his roles, some of his more spicy gags raised much controversy in a society that was both strictlyCatholicand ruled by the conservativeDemocrazia Cristiana(Christian Democracy) party. For example, Totò's 1964 movieChe fine ha fatto Totò Baby?(a parody ofWhat Ever Happened to Baby Jane?) included a humorous celebration ofcannabisin an era when drugs were perceived by the Italian audience as something exotic, depraved and dangerous.
During the 1950s, he started to compose poetry. The best-known is probably 'A Livella, in which an arrogant rich man and a humble poor man meet after their deaths and discuss their differences. Totò was also a songwriter:Malafemmena(Wayward Woman), dedicated to his wife Diana after they separated, is considered a classic of theNeapolitan popular music.
Totò had a reputation as aplayboy. One of his lovers, the well knownchanteuseanddancerLiliana Castagnola[it], committed suicide after their relationship ended.This tragedy marked his life. He buried Liliana in his family's chapel, and named his only daughterLiliana(born 10 May 1933 to his wife, Diana Bandini Rogliani, whom he married in 1935).
Another personal tragedy was the premature birth of his son Massenzio in 1954. The child died a few hours later. He was the son of Totò's mistressFranca Faldini.During a tour in 1956, he lost most of his eyesight due to an eye infection that he had ignored to avoid cancelling his show and disappointing his fans. Arguably however, the handicap almost never affected his schedule and acting abilities.
Totò died at the age of 69 on 15 April 1967 in Rome after a series of heart attacks. Due to overwhelming demand, there were no fewer than three funeral services: the first in Rome, a second in his birth city ofNaples—and a few days later, in a third one by the localCamorraboss, an emptycasketwas carried along the packed streets of the popular Rione Sanità quarter where he was born.
In 1946, when theConsulta Araldica—the body that advised theKingdom of Italyon matters of nobility—ceased operations, the Tribunal of Naples recognized his numerous titles, so his complete name was changed from Antonio Clemente to Antonio Griffo Focas Flavio Ducas Komnenos Gagliardi de Curtis ofByzantium, His Imperial Highness, Palatine Count, Knight of theHoly Roman Empire,ExarchofRavenna, Duke ofMacedoniaandIllyria, Prince ofConstantinople,Cilicia,Thessaly,Pontus,Moldavia,Dardania,Peloponnesus, Count ofCyprusandEpirus, Count and Duke ofDrivastoandDurazzo. For someone born and raised in one of the poorest Neapolitan neighbourhoods, this must have been quite an achievement, but in claiming the titles (at the time they had become meaningless) the comedian also mocked them for their intrinsic worthlessness. In fact, when he was not using his stage name Totò, he mostly referred to himself simply as Antonio de Curtis.
Totò starred in 97 films: