Il generale Della Rovere

The story of the film concerns "Colonelo" Bertone a self-appointed community intercessor and thief in World War II Italy, passing on bribes from families to the Germans in order to help their sons (or gambling away the bribes and eating their food parcels). It's definitely a film of two halves, the first half of the movie to me feeling decidedly Pasolinian. Bertone, though undoubtedly a scoundrel does his best to keep people happy, is a character that spreads a certain amount of charm in the world. For some people who have never known love or had anyone to look up to, he provides a show, his charisma is like ambrosia. Having been brought up with Protestant vales it has been a revelation to me in life how people value charm as most precious, a Veblen good, more prized when it is most demanding, how a charming person is valued above all others even when they live in a moral vacuum.

The second half of the movie is, in structure, a more conventional prison movie where Bertone, working for the Germans in order to save his skin, becomes an impostor pretending to be Generale della Rovere. Whilst pretending to be the general he begins to assume many of the general's characteristics. This part of the film is very patriotic, and contains a beautiful fresco of Italian cities on the prison wall. The ideology of this part of the movie is all about recognising the efforts of the largely Communist, Partito d'Azione and Socialist partisan resistance, bodies who were largely excluded from the post-fascist Italian government, which was dominated by the Christian Democrats, who many felt to have been tainted by association with fascism.

Pontecorvo's movie Kapò was released contemporaneously, and features a similarly caricatured version of the Teutonic gaoler and slightly ebullient view of World War II, that would become refined in future decades. That said, Il Generale della Rovere, is undoubtedly a masterpiece.

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 was astounded watching this movie. It is less known compared to Rossellini's war trilogy ... but it left a deeper impact on me. One of the best anti war movies ever made .. helped by a towering performance by De Sica ...

Roberto Rossellini, as a filmmaker, cannot be compared to anyone else. Not because of any camera technique but because his mind, to tell a story, took shortcuts through truly dangerous territories. The nervous center of the Italian human nature is dissected with fierceness, compassion and even a touch of admiration. Redemption coming in the most unexpected form as a last, final test. Who am I, really? Could I at the last moment of my life become the man I always wanted to be? Beautiful, poignant, terrifying. Vittorio De Sica gives one the best performances of his eclectic and extraordinary career. The traveling of his thoughts seem to come out of the screen with the same intensity as his real smallness, his fear, his painful self awareness. Truth, with all is uncomfortable connotations 24 frames a second.

Winner of many top international festival prizes, this was one of Roberto Rossellini's most widely seen films in America after OPEN CITY and PAISAN. It is a superbly written, directed, and acted drama about a petty conniver, Bertone, alias Grimaldi, played by Vittorio De Sica in what is possibly his greatest acting role. He is not above loving people and swindling them at the same time. He does this to survive the hard times of Mussolini's Salo' Republic period. The film is set in Genoa after the Badoglio armistice has been signed with the Allies in the south. Bertone tries to help Italians who have relatives imprisoned by the Nazis. Sometimes he can help; other times he cannot but always takes their money. When his game is finally up, he is imprisoned but offered an opportunity by the Germans. He is to impersonate a revered partisan leader already killed by the Nazis in order to furnish them information on another partisan leader in the anti-fascist underground. It is at this point that Bertone gradually undergoes a transformation, choosing patriotism over capitulation. The con-man becomes a hero. Other standout performances here are given by Sandra Milo as a prostitute, Hannes Messemer as the Nazi commandant and Vittorio Caprioli as an inmate barber.