The theater hall of the Piccola Accademia dei Talenti in Palermo was named after the duo
Franco and Ciccio (Italian: Franco e Ciccio, pronounced[ˈfraŋkoetˈtʃittʃo]) 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.[1]
Together, they appeared in 112 films.[2] 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.[3][4] 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.[5]
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.[6][7][1]
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.[8] They also appeared in a variety of film genres and appeared opposite Vittorio Gassman, Buster Keaton and Vincent Price.[9]
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 leopardobySergio Corbucci (1965), a parody of The LeopardbyLuchino Visconti (1963).[10][11] 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.[12]
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.[10]
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.[3][4] 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.[5]
Often their films were without a real screenplay and were based on a canovaccio and the dialogues were entrusted to improvisation.[13] 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".[12]
Movies with an original plot represent the majority and are of multiple genres, which usually followed the trend of the fashion and market needs of the period in which they were made. Many films are centered on the theme of the Sicilian Mafia, initially playing on the mafioso stereotype such as L'onorata societàbyRiccardo Pazzaglia (1961) and I due mafiosibyGiorgio Simonelli (1964).[15]
Halfway between parodies and original works, there are also films with titles that refer to famous titles but with original plots such as I due maggiolini più matti del mondo (1970).[21] Separately, anthology films, which were made above all because they took much less time to make and because they could stage more leading actors and therefore attract more audiences. The sections La giarainKaos (1984) and Che cosa sono le nuvole?inCaprice Italian Style (1968) are examples.[22][23]
The duo also starred in a comic series at the end of the 1960s, Ciccio & Franco, with stories that were original, but featured gags already established in the cinema.[24] On 8 September 2004, during the 61st Venice International Film Festival, Daniele Ciprì and Franco Maresco presented the documentary film Come inguaiammo il cinema italiano - La vera storia di Franco e Ciccio (English: "How we messed up Italian cinema - The true story of Franco and Ciccio"), on the life of Franco and Ciccio. Despite the problems encountered, the two directors collected a large amount of material, also reconstructing the sketches of the street debuts of the two comedians from Palermo, collecting testimonies and interviews.[25]
The main model of the duo remains that of Laurel & Hardy.[26] As a young man, Ciccio's idol was Totò.[27] He went to see him during a show in Palermo and was impressed by him, so much so that he took many ideas from his work and recreated them in his characters, especially in the initial period of the theater. He also greatly admired Danny Kaye and Charlie Chaplin.
Franco instead admired Buster Keaton, who he considered even better than Chaplin.[26] His dream was to act alongside him, and did so in 1966. In the early years of theatre, Franco was often compared to Jerry Lewis.[12]
Exhibition Franco and Ciccio... not only comedians!!!, organized by the Sicilian branch of the Experimental Cinematography Center dedicated to the duo in Palermo from 4 to 6 June 2012.[29]
The theatre hall of the Piccola Accademia dei Talenti in Palermo was named after the duo on 10 December 2017.[30]
Piazzetta Franco and Ciccio in Palermo and, close to via Venezia, a plaque in memory of the two actors.[1][31]
Show Ciccio the other half of Franco, organized in Palermo on the occasion of the 15th anniversary of Ingrassia's death.[32]
Franco, while working with Salvatore Polara's "crawlers", as well as acting, played the bass drum and the accordion and sang in the shows in the square.[33] Ciccio, on the other hand, initially devoted himself to parodies of Canzone Napoletana, including Agata, Nino Taranto's forte.[34] The first show together was dedicated to the Neapolitan song Core 'ngrato.[34] They collaborated with Domenico Modugno in the LP recording of the show Rinaldo in campo, which collected all the songs interpreted during the comedy; the song “Tre briganti, tre somari” was then also published in 45 rpm.[35]
Singles were also made from their television appearances. The best success fell to Franco who alone released the album Sarò Franco and various singles (of which “L'ultimo dei belli” ended up in the hit parade).[34] Even during their television conductions in the 1980s they signed several closing theme songs for their respective programs, including the one created for Drim entitled “E mi pareva strano”.[36] In the same period he covered a 1981 hit entitled “Shaddap your face” and recorded by Joe Dolce, called “Alì Alì Alè”.[37]
1961 – Rinaldo in campo (Fonit Cetra, LP 20016; participation with Domenico Modugno, Delia Scala and the rest of the cast of the homonymous theatrical show)
Castellano, Alberto; Nucci, Vincenzo (1982). Vita e spettacolo di Franco Franchi e Ciccio Ingrassia [Life and entertainment of Franco Franchi and Ciccio Ingrassia] (in Italian). Liguori Editore. ISBN978-8820711856.
Bertolino, Marco; Ridola, Ettore (2003). Franco Franchi e Ciccio Ingrassia [Franco Franchi and Ciccio Ingrassia] (in Italian). Gremese. ISBN88-8440-271-9.
Giusti, Marco (2004). Continuavano a chiamarli Franco e Ciccio [They kept calling them Franco and Ciccio] (in Italian). Mondadori. ISBN88-04-53305-6.
