Toth Database - Cinema

Vittorio De Sica Domenico Gaetano Stanislaus Sorano

(Sora, 7 July 1901 – Neuilly-sur-Seine, 13 November 1974)



Was born on 7 July 1901 at Sora, a town in the province of Terra di Lavoro (from 1927 to the newly-annexed province of Frosinone), via Cittadella, in the District of the same name, by Umberto De Sica, an official of the Bank of Italy Cagliari origins bells, and Teresa Manfredi, a Roman housewife. In the Church of San Giovanni Battista, located just in front of the family home, received baptism with the names of Vittorio, Dominic, Stanislaus, Gaetano, Sorano: the last name is that of the eponymous God of the city of Sora's alleged. The father Umberto, used in the local branch of the Bank of Italy, he worked under the name of Caside for a local monthly magazine, The voice of the Liri, published from 1909 to 1915. Vittorio had with his father, a very nice and sharp, and he will dedicate his film Umberto d. As Vittorio said, her family lived in "tragic and aristocratic poverty". Later, in 1914, he moved with his family to Naples and again, after the outbreak of World War I, in Florence. Vittorio, just 15 years old, he began to perform as an amateur actor in small shows organized for military hospitals. Then came the final transfer to Rome. During her studies in accountancy, thanks to the intercession of the family friend Edoardo Bencivenga, gets a small role (a waiter) in a silent film directed by Giancarlo Saccon, Il processo Clemenceau of 1917.

Prefer to continue his studies but then, after obtaining the diploma in accounting, accept in 1923 a playwriting from generic in the company directed by the prestigious actress Tatiana Pavlova, with whom he stayed for two years. In the spring of 1925 was second brilliant actor in the company of Italy Almirante, famous star of silent, then in 1927 switches to qualify as second young actor in the company of Luigi Almirante, Sergio Tofano and Judith Rissone. In 1930 came the first actor level, next to Guido Salvini, and there he was noticed by Mario Mattòli, at that time owner of the Troupe Za-Bum (the first serious Italian theatrical experiment to mix comedy actors of variety to the drama of the actors of prose), which, including its brilliant qualities, the writing immediately and put him alongside Umberto Melnati, with whom he formed a comic relief pair for its time, with gags and catchphrases that made them famous innational level. Especially the song so sweet as a fig Ozarks and many radio sketch : to quote on all the Tough minga, dura no resumed later in the 1950 in a carousel advertising from Ernesto Calindri and Franco Volpi. 

In 1933 he founded his own company with Giuditta Rissone and Sergio Tofano, with representations especially comical. In the immediate postwar period, when it began to be known as a film director, together with Paolo Stoppa and Vivi Gioi from 1944 brought also staged dramas of considerable value as Chains of Langdon Martin. In the season 1945-1946 participated in two shows directed by Alessandro Blasetti, time and family Conway by John Boynton Priestley and But it's not serious of Luigi Pirandello.

In the 1946-1947 season he worked with Luchino Visconti, along with Vivi Gioi and Nino Besozzi in the marriage of Figaro by Beaumarchais, in addition to the magazine Ah ... here we go again! "written by Oreste Biancoli. Finally, in the 1948-1949 season, participated two news days of the life of William Saroyan and the magnificent Cuckold by Fernand Crommelynck, directed by Mario Chiari. That was his last appearance on the stage: as a result, more and more absorbed by film and television commitments, there came back. It is estimated that De Sica, between 1923 and 1949, he took part, including comedies, dramas and magazine shows in prose, to over 120 performances.



Movie actor


On the big screen, after two other investments in silent films directed by Mario Almirante in 1927-1928, became a star among the most popular (on par with Amedeo Nazzari, Gino Cervi and Fosco Giachetti) since 1932, with a suave and pleasing comedies interpreted with Lia Franca and Assia Noris and all directed by Mario Camerini: among these we remember men, that Rascal ... of 1932, in which launches the very famous song Parlami d'amore Mariù, his battle cry for the rest of his career, then Darò un milione of 1935, where he met Cesare Zavattini, Mr. Max of 1937 and the great warehouses of 1939. Even once its prestigious task as Director, he seems to say: appeared in a hundred films, even in short boundary roles, winning a Silver Ribbon in 1948 and garnering several awards in the following years in various festivals. In the early 1950s he caught as a performer an extraordinary public success with two films directed by Alessandro Blasetti and Luigi Comencini, and in which he starred alongside Gina Lollobrigida: Altri tempi (1952), in the episode On trial of Phryne, where in a memorable speech on the part of defense counsel of grace of a commoner invented the term proverbial plus physics, then in bread, love and dreams (1953), where she played the feisty Marshal Canning, engaged in wooing a lovely midwife, and that will have three sequels. Memorable, poignant and even funny her performance alongside Totò in the two marshals (1961). He also had a fruitful relationship with Alberto Sordi, who attempted to launch in 1951 producing and directing anonymously Mamma mia, what impression! and with whom he performed in several films, among which include the count Max, the moralist and the traffic policeman. The highest result of the combination is probably an underrated film directed by the deaf, An Italian in America (1967), where she played an incisive and melancholy role of a United States of America, immigrated to the impecunious idler that takes advantage of participation in a television programme to meet the son she had not seen for some time and that is believe to be rich. Very intense even his dramatic interpretations, above all that of General Della Rovere, by Roberto Rossellini (1959), or the participation in the remake of a farewell to arms of Charles Vidor (1957). In the final part of his artistic career he found himself playing supporting roles in films even very far from his image, as in the case of Dracula looking blood of a Virgin ... and died of thirst by Paul Morrissey (1974).



De Sica Director


De Sica made his debut behind the camera in 1939 under the auspices of a powerful producer of the time, Joseph Abboud, who debuted in the comedy Red RosesUntil 1942 his production as a Director does not differ greatly from the measured and polite comedies like Mario Camerini: Maddalena, zero in condotta with Carla Del Poggio and Irasema Dilián, and Teresa Venerdì  with Adriana Benetti and Anna Magnani. Starting in 1943, with the children are watching us ( Italian novel of Julius Caesar) began, along with Zavattini exploring the themes Neorealist. After a religious film made in Vatican City during the occupation of the capital, the gate of heaven, Director signature, one behind the other, four great master pieces of world cinema: SciusciàThe bicycle thief , taken from the novel by Luigi Bartolini, Miracolo a Milano, based on the novel Totò il buono of the same Zavattini and Umberto D., the cornerstones of Italian neorealism. The first two will get the Oscar for best foreign film and the Silver Ribbon for Best Director.Nevertheless, presentation of Sciuscià in a movie theater in Milan, the Director was accused by a spectator present to make a bad image of Italy. After this unique  egypt, De Sica signed other works very important: the gold of Naples, adapted from a collection of short stories by Giuseppe Marotta, the roof that is considered to be his farewell to neorealism step, then the acclaimed La ciociara, 1960, based on the novel by Alberto Moravia, which boasts a vibrant interpretation of Sophia Loren, who won all possible Awards: Silver Ribbon, David di Donatello, Palme d'Or at the Cannes Film Festival and the Academy Award for best actress. With Loren also worked in famous episode the raffle inserted in the collective film Boccaccio ' 70 , then teamed with Marcello Mastroianni in Yesterday, today and tomorrow , three unforgettable portraits offemale (the commoner, the snob and the fashionable) and her third Oscar, Matrimonio all'italiana, transposition of Filumena Marturano by Eduardo De Filippo, and Sunflowers . In 1972 he obtained a fourth Academy Award with filmic transposition of the novel by Giorgio Bassani, Il giardino dei Finzi-Contini, dramatic story of persecution of a Jewish family in Ferrara during fascism; This work also gets the Golden bear at the Berlin Film Festival of 1971.

The last movie he directed is the reduction of a novella by Luigi Pirandello, the journey (1974), played again by Sophia Loren, alongside Richard Burton.



The Neapolitan song


During 1911, at a time when the authorities had forbidden her to eat figs. While getting, because he was helping his mother were cheap, small Vittorio while shopping vendors. De Sica in this case acted as a pole to give the alarm upon arrival of the law. On one occasion, when two policemen appeared, he intoned Torna a SurrientoThe soldiers loved it and asked him to continue; De Sica was so to interpret all the Neapolitan Repertory known to him. In the following years, become actor, recorded several versions of the classic Neapolitan. Too modern for the tastes of the time, it was quickly realized. Ernesto Murolo failed him exclaiming during one of her concerts: "Tene sulo nu wire ' and voice"In addition, alluding to its thinness, added:


"Pare nu mieza consumptive"I appreciate, however, Enzo Lucio Murolo, the inventor of the skit. Said Dino Falconi, author of magazines: "Nobody better than me can ensure that Vittorio De Sica was singing as only a Neapolitan can sing"In maturity, he recorded young lady by Bovio. Made in Studio a tv Duet with Mina in Love when it rainsFor necklace Recital devoted albums to Salvatore Di Giacomo, Ernesto Murolo and Michele Galdieri, playing songs and recited poems. In 1968 he participated as an author at a Festival in Naples. Its tell me that tuorne to mme!, set to music by his son Manuel, in the Festival of Naples 1968 was played by Nunzio Gallo and Luciano Tomei, but failed to finish.


Several times he planned to take home a Posillipo: De Sica believed that "nu boor and fora" as he called himself--can love Naples more than a Neapolitan. He recorded the last album in 1971: De Sica thirties, made the arrangements of his son Manuel. His most famous interpretation, however, remains that of marechiare.



On television



De Sica, in Alassio, on the set of "the children are watching us very active even on the small screen, though not loved him very much, he participated in several u.s. and Italian broadcast light entertainment as The MoustafaStudio OneSoundtrack Saturday night with Corrado, Delia Scala StoryGina Lollobrigida Tonight Vh1 with Corrado e Raffaella Carrà (1970-71) and Now music, as well as in the role of the judge called upon to process the Pinocchio puppet in penned the adventures of Pinocchio by Luigi Comencin. 

In 1971 he directed two documentaries, also many intellectuals dedicated several honorific documentaries.



Private life


It was his great passion for the game, for which he was sometimes to lose huge sums too, and that probably explains his participation in films not at his level. A passion that never hid and not reported, with great irony, in several of his film characters, such as  Il conte Max or l'oro di NapoliMarried since 1937 with Giuditta Rissone, whom he met 10 years earlier and the following year he had the daughter Emilia, in 1942, on the set of the film Un garibaldino al convento met Catalan actress Maria Mercader, with whom he went later to live with. After the divorce from Rissone, obtained in Mexico in 1954, joined the Catalan actress in a first marriage in 1959, again in Mexico but the Union was deemed "nothing" because it is not recognized by the Italian law; in 1968 he obtained French citizenship and married Mercader in Paris.

She had meanwhile had two children: Manuel in 1949, musician and Christian in 1951, which will follow in his footsteps as an actor and Director. Although divorced, De Sica never knew her first family. Thus began a double ménage, with double lunches at parties and considerable stress. It is said that on the eve and new year's Eve put the clock forward by two hours at home of Mercader to toast at midnight. The first wife agrees to keep up a facade rather than remove her daughter's wedding the father figure. Vittorio De Sica died at 73 years after surgery to treat lung cancer from which he suffered, to a hospital in Neuilly-sur-Seine, near Paris; in the same year, Ettore Scola dedicated his masterpiece c'eravamo tanto amati

As he recalled his son Christian during an interview in the barbarian invasions, Vittorio De Sica was a Communist and that fact, combined with the aforementioned double events, of course prevented him from receiving a particularly lavish funeral. Thirty-five years later, Annarosa Morri and Mario Canale have dedicated the documentary Vittorio D., presented at 66 ª Mostra internazionale d'Arte cinematografica di Venezia and subsequently broadcast by LA7.

His body rests in the Verano cemetery in Rome.



Filmography Actor


Il processo Clemenceau, directed by Edoardo Bencivenga (1917)

La bellezza del mondo, directed by Mario Almirante (1927)

La compagnia dei matti, directed by Mario Almirante (1928)

Two happy hearts, directed by Baldassarre Negroni (1932)

Men, you rascals ..., by Mario Camerini (1932)

La segretaria per tutti, by Amleto Palermi (1932)

La vecchia signora, by Amleto Palermi (1932)

The Lord desires?, by Gennaro Righelli (1933)

Bad subject, by Carlo Ludovico Bragaglia (1933)

La canzone del sole, by Max Neufeld (he stars too the German version Das Lied der Sonne) (1933)

Paprika, directed by Carl Boese (1933)

Lisetta, by Carl Boese (1933)

Tempo massimo, by Mario Mattoli (1934)

Amo te sola, by Mario Mattoli (1935)

Darò un milione, by Mario Camerini (1935)

Non ti conosco più, by Nunzio Malasomma (1936)

Lohengrin, by Nunzio Malasomma (1936)

But it's not serious, by Mario Camerini (1936)

L'UOMO che sorride, by Mario Mattoli (1936)

These guys, by Mario Mattoli (1937)

Il signor Max, by Mario Camerini (1937)

Napoli d'altri tempi, by Amleto Palermi (1937)

La mazurka di papà, directed by Oreste Biancoli (1938)

Hanno rapito un uomo, by Gennaro Righelli (1938)

Partire, by Amleto Palermi (1938)

Le due madri, by Amleto Palermi (1938)

The cuckoo clock, by Camillo Mastrocinque (1938)

At your orders, Madame ..., directed by Mario Mattoli (1939)

Castles in the air, directed by Augusto Genina (he stars too the German version Ins blaue Leben) (1939)

Department stores, by Mario Camerini (1939)

Always ends up so, directed by Enrique Susini (1939)

Manon Lescaut, directed by Carmine Gallone (1940)

Overjoyed, directed by Carlo Ludovico Bragaglia (1940

Rose scarlatte, by Giuseppe Amato and Vittorio De Sica (1940)

La peccatrice, by Amleto Palermi (1940)

Maddalena, zero in condotta, by Vittorio De Sica (1940)

L'avventuriera del piano di sopra, directed by Raffaello Matarazzo (script too, not credited) (1941)

Teresa Venerdì, by Vittorio De Sica (1941)

Un garibaldino al convento, by Vittorio De Sica (1942)

The bodyguard, by Carlo Ludovico Bragaglia (script too) (1942)

If I were honest, directed by Carlo Ludovico Bragaglia (script too) (1942)

Our dreams, directed by Vittorio Cottafavi (script too) (1943)

Not superstitious ... but!, directed by Carlo Ludovico Bragaglia (script too) (1943)

The children are watching us, directed by Vittorio De Sica (1943)

Nessuno torna indietro, by Alessandro Blasetti (1943)

The hippocampus, directed by Gian Paolo Rosmino (1945)

Lo sbaglio di essere vivo, by Carlo Ludovico Bragaglia (1945)

Il mondo vuole così, by Giorgio Bianchi (1945)

Down with the wealth!, by Gennaro Righelli (story and screenplay) (1946)

Roma città libera, by Marcello Pagliero (1946)

Lost in the dark, directed by Camillo Mastrocinque (1947)

Natale al campo 119, regia di Pietro Francisci (1947)

Lo sconosciuto di San Marino, directed by Michał Waszyński and Vittorio Cottafavi (1947)

Heart, directed by Duilio Coletti (producer and script too) (1948)

Tomorrow is too late, directed by Léonide Moguy (1950)

Cameriera bella presenza offresi ..., directed by Giorgio Pàstina (1951)

Buongiorno, elefante!, directed by Gianni Franciolini (producer) (1952)

Other times-Zibaldone n. 1, episode the trial of Phryne, directed by Alessandro Blasetti (1952)

The earrings of madame de ..., directed by Max Ophüls (1953)

Pane, amore e fantasia, by Luigi Comencini (1953)

Villa Borghese, episode incident at Villa Borghese, by Gianni Franciolini (1953)

Cento anni d'amore, episode Pendolin, directed by Lionello De Felice (1954)

The wedding, episode the bear, directed by Antonio Petrucci (1954)

Tempi nostri-Zibaldone n. 2, episodes outdoor scene and Don Corradino, directed by Alessandro Blasetti (1954)

Gran varietà, directed by Domenico Paolella (1954, episode The end elocutionist)

Allegro Squadron, directed by Paolo Moffa (1954)

Vergine moderna, directed by Marcello Pagliero (1954)

Players, episode of l'oro di Napoli, by Vittorio De Sica (1954)

Pane, amore e gelosia, by Luigi Comencini (1954)

Peccato che sia una canaglia, directed by Alessandro Blasetti (1954)

Il letto (Secrets of alcove), episode divorce, by Gianni Franciolini (1954)

Il segno di Venere, by Dino Risi (1955)

The last five minutes, by Giuseppe Amato (1955)

La bella mugnaia, by Mario Camerini (1955)

Racconti romani, by Gianni Franciolini (1955)

Pane, amore e. .., by Dino Risi (1955)

The bigamist (1956 film), directed by Luciano Emmer (1955)

I giorni più belli, by Mario Mattoli (1956)

Mio figlio Nerone, by Steno (1956)

Tempo di villeggiatura, by Antonio Racioppi (1956)

Montecarlo, directed by Sam Taylor and Giulio Macchi (also artistic supervision Director) (1956)

Noi siamo le colonne, directed by Luigi Filippo D'Amico (1956)

Fathers and sons, directed by Mario Monicelli (1957)

The culprits, directed by Turi Vasile (1957)

Souvenir d'Italie, directed by Antonio Pietrangeli (1957)

Amore e chiacchiere, by Alessandro Blasetti (1957)

Il conte Max, directed by Giorgio Bianchi (1957)

La donna che venne dal mare, by Francesco De Robertis (1957)

Vacanze a Ischia, by Mario Camerini (1957)

Doctor and the healer, by Mario Monicelli (1957)

Totò, Vittorio e la dottoressa, by Camillo Mastrocinque (1957)

A farewell to arms, directed by Charles Vidor (1957)

Casino de Paris, directed by André Hunebelle (1958)

Sunday is always Sunday, directed by Camillo Mastrocinque (1958)

Anna of Brooklyn, directed by Reginald Denham and Carlo Lastricati (Director Director) (1958)

Ballerina e Buon Dio, by Antonio Leonviola (1958)

Pezzo, capopezzo e capitano, by Wolfgang Staudte (1958)

Gli zitelloni, by Giorgio Bianchi (1958)

La ragazza di piazza San Pietro, directed by Piero Costa (1958)

Pane, amore e Andalusia, directed by Javier Setó (producer and supervising Director) (1958)

The first night, directed by Alberto Cavalcanti (1959)

Nel blu dipinto di blu, by Piero Tellini (1959)

Men and noblemen, directed by Giorgio Bianchi (1959)

Policarpo, ufficiale di scrittura (1959), directed by Mario Soldati

My wife's enemy, directed by Gianni Puccini (1959)

Winter holidays, directed by Camillo Mastrocinque (1959)

The world of miracles, directed by Luigi Capuano (1959)

The moralist, directed by Giorgio Bianchi (1959)

Il generale Della Rovere directed by Roberto Rossellini (1959)

Ferdinando I re di Napoli, by Gianni Franciolini (1959)

Gladstone, directed by Mario Bonnard (1960)

La sposa bella, by Nunnally Johnson and Mario Russo (1960)

Le tre eccetera del colonnello, by Claude Boissol (1960)

Le pillole di Ercole, by Luciano Salce (1960)

Napoleone ad Austerlitz, by Abel Gance (1960)

The traffic policeman, directed by Luigi Zampa (1960)

Un amore a Roma, by Dino Risi (1960)

It started in Naples, directed by Melville Shavelson (1960)

The MillionairessThe Millionairess ), directed by Anthony Asquith (1960)

The uncensored, by Francesco Giaculli (1961)  

L'onorata società, by Riccardo Pazzaglia (1961)

Le meraviglie di Aladino, by Mario Bava edHenry Levin (1961)

The famous amori di Enrico IV, by Claude Autant-Lara (1961)

The last judgement, by Vittorio De Sica (1961)

Yeomen, directed by Giorgio Bianchi (1961)

The two marshals, directed by Sergio Corbucci (1961)

La Fayette, a sword for two flags, directed by Jean Dréville (1962)

Eva, directed by Joseph Losey and Guidarino Guidi (1962)

The adventures and loves of Moll Flanders, directed by Terence Young (1965)

Io, Io, Io ... e gli altri, directed by Alessandro Blasetti (1966)

Other, others ... and we, by Maurizio Arena (1966)

Fox hunting, by Vittorio De Sica (1966)

An Italian in America, by Alberto Sordi (1967)

Colpo grosso alla napoletana, by Ken Annakin (1968)

Caroline chérie, directed by Denys de La Patellière (1968)

The man from the Kremlin, directed by Michael Anderson (1968)

If it's Tuesday, this must be Belgium, directed by Mel Stuart (1969)

One out of 13, by Nicholas Gessner and Luciano Lucignani (1969)

Cose di Cosa Nostra, by Steno (1971)

Io non vedo, tu non parli, lui non sente, by Mario Camerini (1971)

Trastevere, by Fausto Tozzi (1971)

We are all on bail, by Manlio Scarpelli (1971)

Ettore lo fusto, by Enzo g. Castellari (1972)

The adventures of Pinocchio, by Luigi Comencini (film and tv versions) (1972)

Grande slalom for a robbery, directed by George Englund (1972)

Storia de fratelli e de cortelli, directed by Mario Amendola (1973)

The smell of wild beasts, directed by Richard Balducci (1973)

Il delitto Matteotti, by Florestano Vancini (1973)

Travels, girl, traveling, you have the musical veins, directed by Pasquale Squitieri (1973)

Small miracles, TV film, directed by Jeannot Szwarc (1974)

Dracula cerca sangue di vergine ... and died of thirst!, directed by Paul Morrissey and Antonio Margheriti (1974)

C'eravamo tanto amati, directed by Ettore Scola (1974

Around, short film, directed by Manuel De Sica (1974)

The hero, telefilm, directed by Manuel De Sica (1974)


(Note: many sources it is mentioned a participation of De Sica films Fontana di Trevi by Carlo Campogalliani (1960) and Royal Jelly by Robert Thomas (1964), but the vision of the films the actor does not appear at all.)



Director Filmography


Rose scarlatte (co-director Giuseppe Amato, also actor) (1939)

Maddalena, zero in condotta ( even writing dialogues and actor) (1940)

Teresa Venerdì ( also screenplay and actor ) (1941)

Un garibaldino al convento (also screenplay and actor) (1942)

The hippocampus of Gian Paolo Rosmino ( supervising Director, not credited ) (1943)

The children are watching us ( also screenplay ) (1943)

The gate of heaven ( also screenplay ) (1944)

Sciuscià ( producer ) (1946 

Natale al campo 119 by Pietro Francisci ( supervising Director, not credited ) (1947)

The bicycle thief  ( producer and script too ) (1948)

Tomorrow is too late, by Léonide Moguy ( technical advisor to Director, not credited ) (1949)

Miracle in Milan ( producer and script too ) ( 1950 )

Mamma mia, what impression! Roberto Savarese  (directed by almost all sequences, uncredited, producer and script too ) (1951)

Umberto D. ( Producer ) (1952)

Stazione Termini  (1953)

L'oro di Napoli  ( also screenplay and actor ) (1954) the roof ( producer ) (1955)

Montecarlo, by Taylor and Giulio Macchi ( artistic supervision Director ) ( 1956 )

Pane, amore e Andalusia, by Javier Setó (supervising Director) (1957)

Anna of Brooklyn, by Reginald Denham and Carlo Lastricati (supervising Director) (1958)

The moralist, by Giorgio Bianchi (Director of many sequences, uncredited) (1959)

La ciociara (1960)

The last judgement (also actor) (1961)

Boccaccio ' 70, episode The raffle (1962)

The condemned of Altona (1962)

The boom (1963)

Yesterday, today, tomorrow (1963)

Matrimonio all'italiana (1964)

A new world (1965)

Fox hunting (1966)

Witches, episode one evening as the other (1967)

Woman times seven (1967)

Lovers (1968)

Sunflowers (1970)

Il giardino dei Finzi-Contini (1970)

Couples, episode the lion (1970)

Lo chiameremo Andrea (1972)

A short break (1973)

The trip (1974)



Television Director


The referendum on the Constitution, which is the Birth of the Republic on June 2, documentary (1971)

The Knights of Malta, documentary (1971)





L'ippocampo, by Gian Paolo Rosmino (1943). Writer together with Daisy sweater, Sergio Pugliese, Cesare Zavattini, Adolfo Franci. In the film De Sica also plays the lead role.

The children are watching us, Vittorio De Sica (1943)

The gate of heaven, Vittorio De Sica (1944)

The poor husband, Gaetano Amata (1945). Originally supposed to be directed in 1943 by Mario Soldati and starring Vittorio De Sica, appearing however as a screenwriter.

Ladri di biciclette, Vittorio De Sica (1948)

Miracle in Milan, by Vittorio De Sica (1951)

L'oro di Napoli, Vittorio De Sica (1954)



Television appearances


Meet De Sica, by Charles De Reisner, American television (1958)

The Four Just Men, British television series (1959-1960)

Vittorio De Sica tells ... by Fernanda Turvani, series of 22 fairy tales he narrated (1961)



Television documentaries on De Sica


Portrait of actor: Vittorio De Sica, by Zadian Di Giammatteo (1958)

Vittorio De Sica self-portrait, by Giulio Macchi (1964)

Vittorio De Sica-Director, actor, man, to Peter Dragadze (1974)

Vittorio De Sica, the father of neorealism, Michel Random (1974)

Viva De Sica! by Manuel De Sica (1983)

Parlami d'amore Mariù. The life and work of Vittorio De Sica, broadcast in seven episodes of Giancarlo Governments  (1991)

Vittorio D., of Annarosa Morri and Mario Canale (2009)





Christmas fairy, by Ugo Betti, with Vittorio

De Sica, Rina Morelli, Carlo Romano, directed by Anton Giulio Majano 19 January 1948.





Maria Mercader, My life with Vittorio De Sica, edizioni Mondadori, 1978

EMI De Sica, Letters from the set, editions SugarCo

Luigi Gulia, Michele Ferri, Luciano Lille (a cura di), Vittorio De Sica. Images of life, Written by Maria De Sica, Luigi Gulia, Emi De Sica, Orio Caldiron, Angel with harp and a chronology of Ahmad Farooq, Sora, Centro di Studi Sorani "v. Patriarch", 1984

Luigi Gulia, Cesare Baronio and Vittorio De Sica: two sorani in "Church of the poor" to thermos Antoninianas, in the Ciociaria between writers and filmmakers, edited by Franco Zangrilli, Pesaro, Metauro Edizioni S.r.l., 193-205 2004, pp.

Gualtiero De Santi, Vittorio De Sica, Il Castoro Cinema # 213, Editrice Il Castoro, 2008, ISBN 978-88-8033-259-6


Giancarlo Governments, Parlami d'amore MariùThe life and work of Vittorio De Sica, edizioni Nuova Eri, 1991


Manuel De Sica, The gate of heaven-memories 1901-1952, editions Avagliano, 2005 13 Oar d'acierno, "De Sica, Gill and or Zampugnaro nnammurato", editions La Collina (AV)