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Oreste Bilancia(1881-1945)

  • Actor
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Oreste Bilancia
Oreste Bilancia was born on 24 September 1881 in Catania, Sicily, Italy. He was an actor, known for Il segreto del dottore (1931), La trilogia di Maciste (1920) and Il controllore dei vagoni letto (1922). He was previously married to Asta Gundt. He died on 31 October 1945 in Rome, Lazio, Italy.
BornSeptember 24, 1881
DiedOctober 31, 1945(64)
BornSeptember 24, 1881
DiedOctober 31, 1945(64)
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Oreste Bilancia

Known for

Soava Gallone in Il segreto del dottore (1931)
Il segreto del dottore
  • Redding
  • 1931
La trilogia di Maciste
  • Actor
  • 1920
Il controllore dei vagoni letto
  • Actor
  • 1922
Treno di piacere
  • Aristide Cassegrain
  • 1924

Credits

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Actor

  • Il fiore sotto gli occhi
  • Macario contro Zagomar (1944)
    Macario contro Zagomar
  • Silenzio, si gira! (1943)
    Silenzio, si gira!
  • Totò in Due cuori fra le belve (1943)
    Due cuori fra le belve
    • (uncredited)
  • Abenteuer im Grandhotel (1943)
    Abenteuer im Grandhotel
  • The Bigamist (1942)
    The Bigamist
  • Rossini (1942)
    Rossini
    • (uncredited)
  • Beniamino Gigli, Emma Gramatica, and Camilla Horn in Broken Love (1942)
    Broken Love
  • Mario Bonnard, Victor Hugo, and Michel Simon in The King's Jester (1941)
    The King's Jester
  • L'amante segreta (1941)
    L'amante segreta
    • (uncredited)
  • Il re del circo (1941)
    Il re del circo
  • Ecco la felicità (1940)
    Ecco la felicità
  • La comédie du bonheur (1940)
    La comédie du bonheur
    • (uncredited)
  • Totò in San Giovanni decollato (1940)
    San Giovanni decollato
    • (uncredited)
  • Amami, Alfredo! (1940)
    Amami, Alfredo!
    • (uncredited)

Personal details

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    • September 24, 1881
    • Catania, Sicily, Italy
    • October 31, 1945
    • Rome, Lazio, Italy
    • Asta Gundt

Did you know

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  • Trivia
    With the rise of the sound film then returned to Italy and took on other roles in Telefoni Bianchi films. (Telefoni Bianchi or "white telephones" films were made in Italy in the 1930s in imitation of American comedies of the time in a sharp contrast to the other important style of the era, calligrafismo, which was highly artistic).

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