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One of the most successful films of Neapolitan comedian Totò, it was the top grossing movie in 1956. It contains some of the most famous scenes from the duo Totò and Peppino (actor Peppino De Filippo), such as the dictation of a letter full of grammatical errors below.

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Because of the duo's huge popularity, many producers wanted to exploit their likeness with visually similar duos. Most notable were Paul L. Smith (adopted name Adam Eden in later years, sometimes credited Anam Eden) and Michael Coby (real name Antonio Cantafora) with at least 6 movies in Bud & Terence-fashion from 1973 to 1977.[20] One of these films, Convoy Buddies, was selected for American release by Film Ventures International, and producer Edward L. Montoro changed Smith's name to Bob Spencer and Cantafora's name to Terrance Hall. Smith sued,[21] successfully arguing that an actor's name recognition is vital to his career. The judicial system agreed and ruled against FVI, which paid Smith damages and court costs.[22] In the early 1980s István Bujtor became known as the Hungarian voice of Bud Spencer. Based on his real life similarity with Spencer, later a series of Hungarian comedies were created in the Bud Spencer-Terence Hill genre, in which Bujtor played hard-hitting detective Csöpi Ötvös, partnered with fellow Hungarian actor András Kern.

As the vast majority of his movies were essentially meant to showcase his performances, many have his name "Totò" in the title. Some of his best-known films are Fifa e Arena, Totò al Giro d'Italia, Totò Sceicco, Guardie e ladri, Totò e le donne, Totò Tarzan, Totò terzo uomo, Totò a colori (one of the first Italian color movies, 1952, in Ferraniacolor), I soliti ignoti, Totò, Peppino e la malafemmina, La legge è legge. Pier Paolo Pasolini's The Hawks and the Sparrows and the episode "Che cosa sono le nuvole" from Capriccio all'italiana (the latter released after his death), showed his dramatic skills.[5]

Because of the long-term effects of inflation, notably the significant increase of movie theater ticket prices, the list unadjusted for inflation gives far more weight to later films.[16] The unadjusted list, while commonly found in the press, is therefore largely meaningless for comparing films widely separated in time, as many films from earlier eras will never appear on a modern unadjusted list, despite achieving higher commercial success when adjusted for price increases.[17] To compensate for the devaluation of the currency, some charts make adjustments for inflation, but not even this practice fully addresses the issue, since ticket prices and inflation do not necessarily parallel one another. For example, in 1970, tickets cost $1.55 or about $6.68 in inflation-adjusted 2004 dollars; by 1980, prices had risen to about $2.69, a drop to $5.50 in inflation-adjusted 2004 dollars.[18] Ticket prices have also risen at different rates of inflation around the world, further complicating the process of adjusting worldwide grosses.[16]

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