Der falsche General

Concerning a WWII marketeer and swindler called Bardone : Vittorio De Sica , he often uses to disguise as an officer to get money from the the families of people put in prison by the Gestapo . Once trapped , the Nazis make a deal with him . Then he is forced by a Nazi Colonel Muller : Hannes Messerner to go undercover in a local jail. To find out who the resistance leader is , he poses as a General called Della Rovere . But when the inmates start looking him for guidance , it leads to tragic consequences . He's a Hero...or a Fake ?

This General Della la Rovere 1969 magnificently played by Vittorio De Sica as a petty con man deals with the fantastic wartime adventures and intrigues of the mountebank who held the fate of the fighting undergroung in his hands . Eventually , our hero finds the line between his assumed character and actual identity diminished , awakening his slumbering conscience, resulting in a dramatic conclusion . It contains an interesting and thought-provoking screenplay from Indro Montanelli , Sergio Amadei , Fabbri and Roberto Rossellini himself . Starring Vittorio De Sica is well accompanied by a good cast , such as : Hannes Messemer , Sandra Milo , Anne Vernon , Vittorio Caprioli , Giovanna Ralli , Franco Interlenghi , Linda Veras, Modugno, Luciano Pigozi or Allan Collins , among others.

There is another inferior version 2011 directed by Carlo Carlei starrred by Pierfrancesco Faviano and Shopov . Il Generale Della Rovere 1959 displays an evocative cinematography in black and white by Carlo Cardini . As well as atmospheric and sensitive musical score by Renzo Rossellini . The motion picture was stunningly directed by Roberto Rosselini . He was a prestigious writer and director, making notorious films, such as : "Paisan" , "The Miracle" , "Amore" , "Stromboli" , "The Flowers of St Francis" , "Europe" , " Voyage in Italy" , "Seven Deadly Sins" , "Blas Pascal", "The Rise of Louis XIV" , "Agustín of Hippo" , "The Messiah" , among others . Rating : 7.5/10. Above average, well worth seeing . Especially recommended for featuring a bravura lead interpretation by veteran Vittorio De Sica .

I fully agree with all the glowing accolades of other commenters and totally disagree with the one commenter who thought it was "uneven." This is one of the greatest films ever made, partly because the humanity of the characters and the choices they must make are really what life is all about. If only present-day film makers (producers, directors, writers, etc) would concentrate their efforts towards making films of this caliber, what a much better world this would be. Instead, desiring profits over quality, they go for the lowest common denominator, and continue to make films bereft of the poetry of life, and full of gore, violence, guns, explosions, terror, and all sorts of ugliness and gratuitous noise. They think "this is what the public wants." How wrong they are. One interesting aside: I believe that Rosselini wasn't really as satisfied with this film as much as audiences are. If that rumor is true, it can only be an example of an artist not realizing the impact and importance of a particular work they have created.

Filmed in thirty-three days and edited in ten, this is the first of Rossellini's films post 'Rome, Open City' to be both critically and commercially successful on its release which irked the director no end. Although it lacks the immediacy of the earlier film and its location shooting has been replaced by studio sets whilst being sluggishly directed at times, it remains both gripping and exciting due to the splendid performances by Vittorio de Sica as charlatan Bardone and Hannes Messemer as SS Colonel Mueller whose relationship provides the linchpin of the piece.

Unlike Rossellini, de Sica had no qualms regarding commercialism and as a director excelled in neo-realism and when that genre went out of fashion, Commedia all'Italiana, at the same time creating an artiste from the raw material that was Sophia Loren. He actually logged more time as a actor, mainly to pay off his gambling debts. Had he not been a first class director/actor he would undoubtedly have been a magnificent snake-oil salesman and this, combined with his compulsive gambling, makes his casting here a masterstroke. Hannes Messemer is called upon to be cruel and calculating but is able to imbue his character with a certain nobility and is probably best known to English speaking viewers as the 'decent' German in 'The Great Escape'. As a self-sacrificing partisan Aristide Belchelli gives a fine performance whilst on the distaff side there are touching turns by Sandra Milo and Anne Vernon with Giovanna Ralli looking incredibly edible.

It has been adapted from the story by Indro Montanelli who himself served time in San Vittore and based Bardone on a fellow inmate named Bertone who was killed by firing squad. Upon the film's release Bertone's family filed a defamation suit against the director.

From being out of favour, Rossellini has regained some of his prestige by returning to his origins of war and resistance. Although he felt that by making this film he had 'sold out', this more conventional piece remains by far his most accessible and one of his most powerful.

Though I've only seen this film once, when I was actually young, it has remained one of my lifetime 'greatest' films. It deals with how each of us has a self image, and how that self image, and the lives we lead, may be influenced by how others view us. This is, I think, one of the great common themes of our lives - and this movie examines it beautifully. Though I saw it so long ago, I still remember it each time I see an example of its theme played out in today's events. Most notably, in the U.S., it has been shown in the direction that many (but not all) of our Supreme Court justices take once they receive their lifetime posts. Their thoughts, no matter how narrow they had been, become wider and wiser once that mantle of office settles onto their personalities. This great movie prepared me to see and understand this miraculous process - and others like it.

I have little to add to what the first two commentators have written.

Rossellini has a penchant for melodrama and rhetoric, but, fortunately, he keeps this tendency for the most part in check in this case. This film is dry and sober, and yet touching in the way it describes the transformation of a petty swindler, who manages to survive by cheating those who are unlucky enough to have their loved ones arrested by the Nazis and try everything they can in order to save them from execution or deportation to Germany, into a man who realises that, when faced with the choice between right and wrong, he ultimately has to take sides. And, when the time comes, he will do what his conscience will tell him to do, even though this will mean his own death.

Vittorio De Sica is great, as usual, in this dramatic role as well as in his comic ones. Non-Italians may find interesting the fact that Vittorio De Sica was himself an unrepentant gambler in real life as well, to the point that, if I'm not mistaken, his dead left his family saddled with debts. The film also gives a good idea of what life was like for ordinary Italians under the German occupation between 1943 and 1945. Many had to make difficult choices in a confused situation, and they reacted differently. Some took sides and risks, on both sides; others tried to survive. Some came to accept humiliating compromises in order to save their loved ones from death (consider the character of Borghesio, the old, retired lawyer who mortgages his house in order to gather the money that is needed in order to buy the German officer responsible for choosing the prisoners who are bound to be sent to Germany as forced labourers, which often meant death, or of Ms Fassio, the wife who ends up humiliating herself in a desperate and vain attempt to rescue his husband and is torn between her inner contempt for the Nazis and the urge to do everything possible to save his husband). Some others tried to profit from the situation. Some others made different choices in different moments, sometimes cynical parasites, sometimes heroes. However, everyone faced dilemmas, often about their very survival.