It doesn’t happen to all artists to reach the age of 70 being able to say that they have spent 50 on the set. It is the case of Christian De Sica who, on January 5, 2021, reaches this important milestone despite the fact that for everyone he remains the eternal boy of Italian cinema, the brat who has always combined cooked and raw and who, despite a not insignificant legacy, has succeeded to carve out his role and his style with extreme naturalness and desire to do. Born in 1951 in Rome, second son of Maria Mercader and the great Vittorio De Sica, one of the fathers of Italian Neorealism who, when Christian told him he wanted to become an actor, liquidated him with a simple “Are you crazy?”, De Sica grows up in a house steeped in art and cinema.
Very close to his older brother Manuel and his historic classmate Carlo Verdone, Christian decides, at first, to reinvent himself as a showman in a Venezuelan hotel, which allows him to quickly learn the right way to entertain the audience and hold the stage.
The film debut comes, in 1973, in the film directed by his father Vittorio A short break, in which he is not credited in the cast. It later appears in Paulina 1880 by the French Jean-Louis Bertuccelli and in the play on Blaise Pascal directed by Roberto Rossellini. Soon it is clear to everyone that the son of art has what it takes (and not just the name) to go on: collaborations with Aldo Lado, with Pasquale-Festa Campanile and, above all, with Paolo Nuzzi, who in the 1976, in the film Giovannino, will make him win the David Speciale for his leading role. Two years after the death of his father Vittorio, struggling with various accumulated gambling debts and with the cumbersome label of the “son of” to fight, Christian De Sica decides to persist in his career without help, carrying on at the same time his commitment to cinema (his performance in Bordella by Pupi Avati) and the variety that allows him to work, among others, with Antonello Falqui, who directs him in Dolls there is no lira e Studio ’80. In addition to the appearance in Borotalco di Verdone – De Sica, meanwhile, married his sister Silvia in 1980 – the most delicious occasion comes thanks to Carlo Vanzina which, with double box office success of Taste of sea and of Christmas holidays, definitively launches De Sica in the Olympus of established actors together with rising stars such as Jerry Calà and Claudio Amendola.
Thus begins the cycle of the so-called “Cinepanettoni” invented by producer Aurelio De Laurentiis, a trend that leads De Sica to be the king of Christmas comedies for almost forty years, often together with his friend Massimo Boldi, with whom he found himself in 2018 thanks to the film Friends like before, directed by Christian himself. Together with the combination with the director Neri Parenti and many other associations that lead him to work with Steno, Zampa and Salvatores (without forgetting some international parenthesis such as The Tourist with Johnny Depp and Angelina Jolie), De Sica manages to carve out an all-round artistic personality above all thanks to his commitment as a director. 9 are the films that bear his signature, including Count Max, Men Men Men (one of the first Italian films to feature a group of homosexual friends) and the recent one They are just ghosts, critically acclaimed. Summarizing all the commitments that have seen him involved over the last fifty years, from theater to television to music, it would be impossible, therefore, together with the awards (including 2 David di Donatello) to the approval of the public, all that remains is to wish Happy birthday to Christian De Sica, with the hope that his smile and his energy will allow him to continue to keep company with more than one generation of Italians.
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