Actor. From an early age he was affectionately called Totò. His mother, Anna Clemente, is a single mother and for this reason he is registered as Antonio Clemente, son of N.N. The condition of "nobody's child" has always created complexes for him, which is why a desire for clear and noble ancestry has emerged in him. This desire subsequently materialized with a sort of acquisition of noble titles through its adoption in adulthood, for a fee. Only in 1921 will Antonio be recognized as a De Curtis, after his mother's marriage to Prince Giuseppe De Curtis. During his difficult youth, a punch causes him a considerable deviation of the nasal septum, also causing the partial atrophy that will manifest itself in his typical facial asymmetry. Since he was a child, Totò has a passion for theater and for comic characters in particular. From family performances to the stage, the step is short and at the age of 15 he made his debut in one of the many Neapolitan theaters under the pseudonym of Clerment. During the First World War, Totò experienced the hardships and stupidity of life in the barracks and since then he has grown with an aversion to the so-called "corporals", people without art or part who, with the strength of their position, try to imposing oneself meanly on others. In 1918, he returned to Naples and began acting in small theaters with a repertoire of imitations. After 4 years, a sensational fiasco leads him to leave his hometown to move to Rome, where he becomes famous interpreting the disjointed puppet that will later be re-proposed by him in some films. Here the character Totò was born, with the typical worn bowler hat and the dress too loose, always struggling with poverty and its worst aspect, hunger. With success also come women, many. The bond with Liliana Castagnola is even tragically resolved, with her taking her own life after a fight, leaving Totò very shaken and saddened. In 1932 he then married the young Diana Rogliani with whom he had a daughter, Liliana. The marriage was canceled as early as 1940, but the couple remained together until 1950, for the sake of their daughter. When his ex-wife leaves him permanently for another man, Totò will write his masterpiece "Malafemmina" straight away. Meanwhile, the success of Totò also grows over the years, with theatrical performances and film productions. In the 1950s a real Totò-mania broke out. In 1952, thanks to a newspaper, he meets Franca Faldini, the 33-year-old younger partner with whom he will live until his death. From success to success, Totò works with the greatest actors of the period, artist such as Eduardo De Filippo, Peppino, Aldo Fabrizi, Vittorio Gassman, Ugo Tognazzi, Walter Chiari, Alberto Sordi, Vittorio De Sica, Vianello, Fernandel, Macario, Mastroianni, Nino Manfredi and many others. Finally, the important meeting with director Pier Paolo Pasolini allows him to be discovered by the public as an actor of great sensitivity and intelligence, in roles that embody a great capacity for sarcasm intersected with moments of profound emotion. Problems with the taxman force him to work continuously and without rest, even almost blind due to a viral disease. Overwork and a life that is anything but healthy and characterized by a hundred cigarettes a day interspersed with dozens of coffees, give him the coup de grace, Totò dies following three consecutive heart attacks. His funeral in Naples sees a city on its knees, over two hundred thousand people will give their greetings to this artist considered by many to be the greatest Italian comedian of all time.