![]() I’d just sat down in that hold full of pirates ready for anything when little by little you could hear the sound of a circus tune becoming louder and more penetrating, a wild, sinister tarantella that traveled through the big, rowdy room like an irresistible itch. It was smoky, noisy and chaotic, with shouting, mad, boisterous laughter, and people hitting each other in the face with their jackets. I slipped into a little movie theater behind the post office, after the film there was avanspettacolo, and I was sucked in as always by the blow-up of the soubrette, a sultry brunette with bangs like Claudette Colbert and hips like a hot-air balloon.* I still remember her name, because even her name promised rapture: Olimpia Cavalli! I’d love to see her again! I entered just after the film ended when they were turning the lights back on and the crowd was enjoying a short break. The war was already in the air and I, irresponsible as I was, enjoyed the city which the blackout made more evocative, knowing and enigmatic, with its lights shaded and tinted blue. He starred in 97 films between 19.ĭo you remember Totò? What an amazing, mysterious apparition! The first time I saw him many years ago I didn’t know anything about him I hadn’t even heard anyone talk about him. ![]() De Curtis established his fame in variety theater in the 1920s and went on to become Italy’s most beloved comic actor. ![]() In this excerpt from Making a Film, Federico Fellini describes his first encounter with the legendary Neapolitan actor Antonio De Curtis (Totò). ![]()
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