At this time, on the more commercial side of production, the phenomenon of Totò, a Neapolitan actor who is acclaimed as the major Italian comic, exploded.
His films (often with Aldo Fabrizi,  Peppino De Filippo and almost always with Mario Castellani) expressed a sort of neorealistic satire, in the means of a guitto (a "hammy" actor) as well as with the art of the great dramatic actor he also was.
A "film-machine" who produced dozens of titles per year, his repertoire was frequently repeated.
His personal story (a prince born in the poorest rione (section of the city) of Naples), his unique twisted face, his special mimic expressions and his gestures created an inimitable personage and made him one of the most beloved Italians of the 1960s.
At this time, on the more commercial side of production, the phenomenon of Totò, a Neapolitan actor who is acclaimed as the major Italian comic, exploded. His films (often with Aldo Fabrizi,  Peppino De Filippo and almost always with Mario Castellani) expressed a sort of neorealistic satire, in the means of a guitto (a "hammy" actor) as well as with the art of the great dramatic actor he also was. A "film-machine" who produced dozens of titles per year, his repertoire was frequently repeated. His personal story (a prince born in the poorest rione (section of the city) of Naples), his unique twisted face, his special mimic expressions and his gestures created an inimitable personage and made him one of the most beloved Italians of the 1960s.
Cinema of Italy