The Gold of Naples
1957
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Totò. Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio[1] (15 February 1898 – 15 April 1967), best known by his stage name Totò[a] (Italian: [toˈtɔ]), or simply as Antonio de Curtis, and nicknamed il principe della risata ("the prince of laughter"), was an Italian actor, comedian, screenwriter ...
Totò in una fotografia degli anni sessanta. Totò, pseudonimo di Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio[1] (Napoli, 15 febbraio 1898 – Roma, 15 aprile 1967), è stato un attore, comico, commediografo, poeta, paroliere, sceneggiatore e filantropo italiano. Firma di Totò.
Totò (born Nov. 7, 1898, Naples, Italy—died April 15, 1967, Rome) was an Italian comic, most popular for his film characterization of an unsmiling but sympathetic bourgeois figure, likened by international film critics to the American film comic Buster Keaton.
- The Editors of Encyclopaedia Britannica
Actor: Cops and Robbers. 'Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio' was a descendant of the 'Comneno di Bizanzio' and also one of the most popular Italian film stars in history. His genre was undoubtedly the comedy where he achieved world fame.
- January 1, 1
- Naples, Campania, Italy
- January 1, 1
- Rome, Lazio, Italy
Totò alla dogana in una esilarante discussione con Luigi Pavese nel film Noi duri."lei, addetto all'ambiasciata... io? ho detto all'ambasciata?? io non ho de...
- 5 min
- 4.7M
- aktarus2
In 1937, he appeared in his first movie "Fermo con le mani", and later starred in 96 more films, many of which are still frequently broadcast on Italian television. In his vast cinematographic career, Totò had the opportunity to act side by side with virtually all major Italian actors of the time.
Totò, pseudonym of Antonio De Curtis, was an Italian actor, poet, lyricist and screenwriter, great philanthropist and symbol of the comedy show of the Bel Paese, for this nicknamed “Prince of laughter”. But what was hidden behind the “mask”, in the shadow of the public character symbol of Naples?
