We owe Neapolitan actor and playwright Eduardo Scarpetta an immeasurable debt of gratitude for having fathered, albeit illegitimately, Eduardo, Peppino and Titina de Filippo! He also created a wondrous character named Felice Sciosciammocca, a sort of latter day Pulcinella, who had already been played on film by his legitimate son Vincenzo in 1940 and is here played by Antonio de Curtis, better known as Toto.
It is well-nigh impossible not to like this enchanting, endearing and engaging adaptation of Scarpetta's best known play. Doubtless influenced by the farces of Labiche and Feydeau, this has an assortment of colourful 'stock' characters and simply splendid ensemble playing. The role of Felice is of course tailor-made for Toto who is steeped in the tradition of the Commedia dell' Arte. Having been born into genteel poverty he is well able to portray here an impoverished scribe and to impersonate a Prince.
I suppose that to the average non-European cinema-goer this piece is of interest for the presence of statuesque Sophia Loren. Apart from the unfortunate 'White Slave Trade' where she was billed as Sofia Lazzaro, her role here as a ballerina(!) is her most substantial thus far but her 'breakthrough' was soon to come in 'Gold of Naples' directed by Vittorio de Sica who became her Svengali, after which of course she never looked back.
Comedy is a fragile commodity and seldom travels well but this beautifully executed version by Mario Mattoli of an undeniable classic is a glorious exception.
It is well-nigh impossible not to like this enchanting, endearing and engaging adaptation of Scarpetta's best known play. Doubtless influenced by the farces of Labiche and Feydeau, this has an assortment of colourful 'stock' characters and simply splendid ensemble playing. The role of Felice is of course tailor-made for Toto who is steeped in the tradition of the Commedia dell' Arte. Having been born into genteel poverty he is well able to portray here an impoverished scribe and to impersonate a Prince.
I suppose that to the average non-European cinema-goer this piece is of interest for the presence of statuesque Sophia Loren. Apart from the unfortunate 'White Slave Trade' where she was billed as Sofia Lazzaro, her role here as a ballerina(!) is her most substantial thus far but her 'breakthrough' was soon to come in 'Gold of Naples' directed by Vittorio de Sica who became her Svengali, after which of course she never looked back.
Comedy is a fragile commodity and seldom travels well but this beautifully executed version by Mario Mattoli of an undeniable classic is a glorious exception.
