| L'uomo, la bestia, la virtù (Man, Beast and Virtue) | |
|---|---|
 | |
| Directed by | Stefano Vanzina |
| Written by | Lucio Fulci Vitaliano Brancati Steno Jean Josipovici |
| Based on | Man, Beast and Virtue by Luigi Pirandello |
| Produced by | Dino De Laurentiis Luigi De Laurentiis Carlo Ponti Antonio Altaviti |
| Starring | Totò Orson Welles Viviane Romance |
| Cinematography | Mario Damicelli |
| Edited by | Gisa Radicchi Levi |
| Music by | Angelo Francesco Lavagnino P.G. Redi[1] |
| Distributed by | Lux Film |
Release date | May 9, 1953 |
Running time | 90 min |
| Country | Italy |
| Language | Italian |
L'uomo, la bestia e la virtù (Italian pronunciation: [ˈlwɔːmo la ˈbestja e la virˈtu]), internationally released as Man, Beast and Virtue, is a 1953 Italian comedy film directed by Steno. It starred Italian comedian Totò and famed actor Orson Welles. The film was originally shot in Gevacolor, but only black-and-white prints exist today.[2]
Sergio Leone and Lucio Fulci were both assistant directors on this film. Fulci said the film did not really do well, but it gave Fulci his first screenwriting credit, and he really enjoyed being in Orson Welles' presence. Welles was in Italy filming Othello at the time, and Fulci said Welles' entire diet consisted of oranges which he ate in massive quantities. Fulci described Totò as being a very sad figure, and said Carlo Ponti forced him to star in this film against his will as Totò had signed a contract with the producer. Although filming went past the contracted period, Ponti never paid Orson Welles a penny in overtime either.[3]
The film was based on the 1919 novel and play of the same name by Luigi Pirandello.[4] Pirandello's heirs were very disappointed with the film, which they said omitted most of the bawdy humor and the theme of dressing the actors up in animal costumes was jettisoned by the producers, leaving behind an emasculated version of Pirandello's play. To make matters worse, the film vanished from sight for decades following its brief theatrical release, a black-and-white print only surfacing in the early 1990s, making it impossible to evaluate Mario Damicelli's much vaunted color cinematography.[5]
