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Franco and Ciccio
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Franco and Ciccio
Franco and Ciccio (Italian: Franco e Ciccio, pronounced [ˈfraŋko e tˈtʃittʃo]) were a comic comedy duo formed by Italian actors Franco Franchi (1928–1992) and Ciccio Ingrassia (1922–2003), particularly popular in the 1960s and 1970s. Their collaboration began in 1954 in the theatre field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the film Appuntamento a Ischia. They remained active until 1984 when their last film together, Kaos, was shot, although there were some interruptions in 1973 and from 1975 to 1980.
Together, they appeared in 112 films. Considered at the time as protagonists of B movies, they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the subject of study. The huge success with the public is evidenced by the box office earnings, which in the 1960s represented 10% of the annual box office earnings in Italy.
Both born in Palermo, Sicily, their collaboration began in 1954 in the theatre field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the film Appuntamento a Ischia. They remained active until 1984 when their last film together, Kaos, was shot, although there were some interruptions in 1973 and from 1975 to 1980.
Together, they appeared in 112 films, usually as the main characters, and occasionally as supporting characters in films featuring well-known actors such as Totò and Domenico Modugno who wrote "Rinaldo in campo" for the two; the theatre piece launched the comedy team's career. They also appeared in a variety of film genres and appeared opposite Vittorio Gassman, Buster Keaton and Vincent Price.
Although their films were labelled as minor works of Italian cinema by film critics of the time, who did not consider their comic films as they were often parodies of films of the period. However, they were rewarded by important audience responses, for example I figli del leopardo by Sergio Corbucci (1965), a parody of The Leopard by Luchino Visconti (1963). However, there were exceptions to the negative judgments of critics such as those of Alberto Moravia and Carmelo Bene who admitted to appreciating their work.
They acted in films certainly made in a short time and with few means, such as those shot with the director Marcello Ciorciolini, sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. Also are the 13 films directed by Lucio Fulci, who was the architect of the reversal of their typical roles by making Ciccio the serious one, the sidekick, and Franco the comic one.
Considered at the time as protagonists of B movie, they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the object of study. The huge success with the public is evidenced by the box office earnings, which in the 1960s, represented 10% of the annual earnings in Italy.
Often their films were without a real screenplay and were based on a canovaccio and the dialogues were entrusted to improvisation. The director, more often than not, limited himself to giving indications to those in charge of the movie camera, without interfering in the work of the actors. Franco defines it as a "superficial artistic direction, daughter of a passive conception of cinema".
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Franco and Ciccio
Franco and Ciccio (Italian: Franco e Ciccio, pronounced [ˈfraŋko e tˈtʃittʃo]) were a comic comedy duo formed by Italian actors Franco Franchi (1928–1992) and Ciccio Ingrassia (1922–2003), particularly popular in the 1960s and 1970s. Their collaboration began in 1954 in the theatre field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the film Appuntamento a Ischia. They remained active until 1984 when their last film together, Kaos, was shot, although there were some interruptions in 1973 and from 1975 to 1980.
Together, they appeared in 112 films. Considered at the time as protagonists of B movies, they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the subject of study. The huge success with the public is evidenced by the box office earnings, which in the 1960s represented 10% of the annual box office earnings in Italy.
Both born in Palermo, Sicily, their collaboration began in 1954 in the theatre field, and ended with Franchi's death in 1992. The two made their cinema debuts in 1960 with the film Appuntamento a Ischia. They remained active until 1984 when their last film together, Kaos, was shot, although there were some interruptions in 1973 and from 1975 to 1980.
Together, they appeared in 112 films, usually as the main characters, and occasionally as supporting characters in films featuring well-known actors such as Totò and Domenico Modugno who wrote "Rinaldo in campo" for the two; the theatre piece launched the comedy team's career. They also appeared in a variety of film genres and appeared opposite Vittorio Gassman, Buster Keaton and Vincent Price.
Although their films were labelled as minor works of Italian cinema by film critics of the time, who did not consider their comic films as they were often parodies of films of the period. However, they were rewarded by important audience responses, for example I figli del leopardo by Sergio Corbucci (1965), a parody of The Leopard by Luchino Visconti (1963). However, there were exceptions to the negative judgments of critics such as those of Alberto Moravia and Carmelo Bene who admitted to appreciating their work.
They acted in films certainly made in a short time and with few means, such as those shot with the director Marcello Ciorciolini, sometimes even making a dozen films in a year, often without a real script and where they often improvised on the set. Also are the 13 films directed by Lucio Fulci, who was the architect of the reversal of their typical roles by making Ciccio the serious one, the sidekick, and Franco the comic one.
Considered at the time as protagonists of B movie, they were subsequently reevaluated by critics for their comedy and creative abilities, becoming the object of study. The huge success with the public is evidenced by the box office earnings, which in the 1960s, represented 10% of the annual earnings in Italy.
Often their films were without a real screenplay and were based on a canovaccio and the dialogues were entrusted to improvisation. The director, more often than not, limited himself to giving indications to those in charge of the movie camera, without interfering in the work of the actors. Franco defines it as a "superficial artistic direction, daughter of a passive conception of cinema".
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