“I this comet to put on the crib I don’t get it right… me or the crib nun like me”. The most famous line of the disgust of the Italian theatre dates back to 1931. To say it is Tommasino, son of Luke, Christmas at the Cupiello’s. That Tommasino, “young modern” and spiteful, interpreted Peppino De Filippo , who played the part until the separation from the brethren Eduardo and Titin . The joke on the comet, which closes the circle of an existence that is artistic, coming from film the neapolitan Yellow, the last appearance of the actor, directed by Sergio Corbucci in 1979.
on The 27th of January 1980, the third of the brothers De Filippo died of a tumor. In tv had just conducted a good Evening with Peppino, a pre-evening that he presented – together with the child Louis – nothing less than the adventures of Goldrake. He should also remember the form of That (“ecquequà”) in a real Scale, variety of the 1966 combined with the Italian Lottery, and some Carousel of success as that of the oil Dante (“Peppino superfine chef”).
Yellow neapolitan – a thriller humorous a lot of intricate, that Marcello Mastroianni, Renato Pozzetto and Michel Piccoli trying to solve without success – is indicative of the art of Peppino. The whole of his was the extraordinary ability to ‘ventilate’, with inexhaustible verve, and the incredible variety of expressions, even the film’s most mediocre and stantìi. And although tired and shabby, in the films of Corbucci, the actor manages once again to turn on the power of rare enjoyment some sequences valuable. Of the rest, for years Peppino De Filippo has cultivated the ability to revive, even with a single joke, a single glance, a small versaccio the film is very poor. He himself, if he lamented: “I had to be content to make movies that didn’t appeal to me, in which I understood and saw all the mistakes there were; not by the master, for charity, but as a man of the theatre”.
Born in Naples on 24 August 1903, Peppino De Filippo debuted as a generic in the theatre company of Vincenzo Scarpetta in the years of the Great War. Then, of the success, he found himself on the stage of the Company Theater Humor De Filippo, founded together with the brothers. The training began right with Christmas at the Cupiello’s, the archetype and prototype of many comedies later, that will continue to inspire Eduardo also in the period of maturity. Broke off from the trio in the 1944 – the furious quarrel with Eduardo in front of the whole company is now legend – Peppino arrived at the cinema bright with variety Lights (1951), a film-debut directed by Fellini and Alberto Lattuada . For the rimini Master will also an episode of Boccaccio ’70 (1962). In the role of the doctor Antonio, an inveterate moralist fustigatore of customs, finds himself drowning in the gigantic breasts of ‘Anitona’ Ekberg , the actor gives a proof of the extraordinary. Not to mention the Guardian of Harold Pinter (the tv version of both young and older listeners Fenoglio , 1976), where Peppino plays a character vile, devious, and cynical, unpleasant and shrewd, filed and credible to the point to forget his caricatures more fun.
his name is inextricably linked to that of Toto , with whom he formed the greatest comic duo, the national. Long is the film series of huge success, the fruit of a magical and unrepeatable alchemy comedy-folk and of the mergers of two genius forgiatesi in the wake of the commedia dell’arte and vaudeville. The ability to Peppino of success with mastery in the areas that Toto handed him made the perfect duo and self-sufficient. The most priceless among the peaks of improvisation is the now legendary scene of the letter in Totò, Peppino e la… malafemmina. Without forgetting the complicity in the fake kidnapping for the purpose pleasurable Toto, Peppino and the outlaws (Tape Silver 1957 best actor) and the hilarious duet on talamo double Bed, three squares, where Peppino is literally sidewalk from the human to the prince de Curtis.
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