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Il generale Della Rovere may seem
like a strange film for Rossellini

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because of how it was made.

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A quote-unquote
carefully crafted film

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from a filmmaker more known
for on-the-spot improvisation

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and for not following
a real narrative thread

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or traditional narrative structure,

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whereas to a large extent,
this film does these things.

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Il generale Della Rovere seems like
an extremely personal film to me.

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I'd even dare call it
autobiographical.

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Rossellini himself even
appears in one scene.

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During this conversation between
Hannes Messemer and De Sica,

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between them in the background
is Rossellini himself,

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playing a relative
of one of the prisoners.

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I don't think his presence
there is coincidental.

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The German occupation
was a difficult part of Rossellini's life.

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He had to really scramble
just to get by.

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I think his memories
of the anxiety and fear

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and that whole awful period
worked their way into the film.

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And the film is explicitly
autobiographical for Vittorio De Sica.

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There's a line in the film
where he says on the phone...

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VictoryΞ

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No, not Vittorio.

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Or rather, yes...
victory for Vittorio.

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His name is Vittorio De Sica.
It's an inside joke.

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At one point, Colonel Mueller
asks him where he's from.

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- From GenoaΠ
- Naples.

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Ah, Naples.

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"From Naples... well, not exactly.
I'm from Sora."

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Well, De Sica was born in Sora.

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And what role is De Sica playing,
if not the story of his life as an actorΠ

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The man with two faces.

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De Sica was
a notorious gambler.

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He lost a lot of money gambling.

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Rossellini had just returned
to Italy and needed money too.

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So the story goes...

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one of those unverifiable legends
more interesting than the truth...

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that they got together and said,

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"We're both in trouble.
We have to make a film

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that wins the Golden Lion
at Venice."

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And that's just what they did.

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It's the story
of an actor and a director.

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[...]
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