Tutti De Sica, All De Sica. This is the name of the exhibition dedicated to Vittorio De Sica, which is achieved thanks to his three sons, Emi, Manuel and Christian, and that opens the trunk of a precious archives that had never been revealed, such as the personal one of Judith Rissone and Emi De Sica, a flood of memories from which the multitude of characters with the face of Vittorio De Sica comes out, without stopping, in a game between reality and fiction. An overview of Vittorio De Sica, a look that can embrace the whole figure, beyond the clichés that – strange destiny for those who reach a huge success – ultimately simplify a profile, exposing in a case that which is most easy refers to the image of the community. Scheduled from February 8 to April 28, “All De Sica” will be at the Ara Pacis Museum in Rome. A multimedia exhibition, a path through posters photographs, on the set and off the set or with his family, and moving images, objects of worship such as the most popular bicycle of the cinema and Oscar who sealed his films, a route dotted with personal documents that illuminate the Vittorio De Sica director and actor, but also singer and showman, as well as the De Sica private, with his two wives, Judith Rissone and Maria Mercader, and his three children. From its first success with Mario Mattoli, leading “Lucciole della città” to the variety show, to the popularity achieved by recordings (first of all, “Parlami d’Amore Mariù”), the transition from the thirties, managed between theater and film, to the forties seeing himself as director and father of Neorealism: the photographic sequence, collected on the set of “I bambini ci guardano” (1943), is shown and testifies the great visual force on showing his unique talent in the direction of non-professional actors, the season of Neorealism with four masterpieces “Sciuscià” (1946), “Ladri di biciclette” (1948), “Miracolo a Milano” (1950), “Umberto D.” (1952) and the relationship with politics (and Andreotti) in Italy that is changing at the turn of the fifties. The association with Cesare Zavattini and the one with Sophia Loren, and so on following the thread of his lives and his characters with the section “The pleasure of the mask – Twenty years of interpretations”, until the final room, where there is a reflection on the immense heritage left by Vittorio De Sica. Vittorio De Sica represented a unique for the Italian show, an unexpected presence out of the norm, a revolution and a wave of modernity in a country that did not have any actor in opposition to the Hollywood stars which, between silent film and the beginning of the sound, had crashed Italian cinema: a cinema that, on the contrary, until the end of 1910th, he had enjoyed of a worldwide market and resonance. Arrived to the cinema by the successes of the variety and by the popularity of his records, De Sica was our first modern star, comparable to the film stars of the international firmament. But this was only the beginning of a career that has no possible comparison except perhaps Welles or Chaplin, who came out wiping his tears at the end of a private screening of the “Umberto D.” «I was born and reborn in the art world at least five times», he said.