Totò.

In 1898, Totò was born in Naples as Antonio Vincenzo Stefano Clemente. His mother hoped he would become a priest, but by age 15 in 1913 he was already acting in small theatres under the pseudonym Clerment. He immersed himself in the tradition of the guitti, the Neapolitan scriptless comedians of the Commedia dell’Arte, developing his trademark puppet-like gesticulation and exaggerated facial expressions.

In 1933, Totò was adopted by Marquis Francesco Gagliardi Foccas. In 1946 the Court of Naples granted him an extensive array of noble titles, including Imperial Highness and Prince Don Antonio, reflecting his claimed descent from the Byzantine Comneno dynasty.

Totò’s breakthrough came in 1947 when he played Gaspare in I due orfanelli. Over the next two decades, he starred in more than 100 films, often paired with actor Peppino De Filippo. His most acclaimed work includes Big Deal on Madonna Street 1958, a heist comedy that became an international hit. Others are The Gold of Naples 1954, directed by Vittorio De Sica, and Cops and Robbers 1951, which Totò himself considered his best film. He also wrote and performed in the Neapolitan dialect, both as a poet and a songwriter, most famously with Malafemmena 1951, a song dedicated to his wife after their separation. In the 1950s, he began composing poetry, notably A Livella, a dialogue between a rich man and a poor man after death.

Totò married Diana Bandini Rogliani in 1935, but the marriage ended in separation by 1939. His only child to survive was Liliana de Curtis; a son, Massenzio, died at birth. He had a high-profile relationship with actress Silvana Pampanini in the 1940s and later partnered with actress Franca Faldini from 1952 until his death. A tragic chapter in his life was the suicide of his former lover, singer and dancer Liliana Castagnola, after their relationship ended. In his later years, Totò suffered from a double retina detachment that left him nearly blind, relying on stunt double Dino Valdi for physical scenes.

Totò remains the Prince of Laughter, one of Italy’s most popular comedians whose influence extends beyond film to music and poetry. His song Malafemmena is a staple of Neapolitan music, and his poem A Livella is widely recited. He received posthumous honors including the Grolla d’oro for Lifetime Achievement. His slapstick, surrealism, and social observation set a standard for Italian comedy and inspired subsequent performers. Three separate funeral services in 1967 proved his immense popularity.