Private Life
His passion for gambling was well known. Because of it, he often lost large sums of money and accepted work that might not otherwise have interested him. He never kept his gambling a secret from anyone; in fact, he projected it on characters in his own movies, like Count Max (which he acted in but did not direct) and The Gold of Naples.
In 1937 he married Giuditta Rissone, whom he met ten years before and who gave birth to his daughter, Emi. In 1942, on the set of Un garibaldino al convento, he met Spanish actress Maria Mercader (sister of Ramon Mercader, Trotsky's assassin), with whom he started a relationship.
He was a Roman Catholic.
After divorcing Rissone in France in 1954, he married Mercader in 1959, again in Mexico, but this union was not considered valid under Italian law. In 1968 he obtained French citizenship and married Mercader in Paris. Meanwhile he had already had two sons with her: Manuel, in 1949, a musician, and Christian, in 1951, who would follow his father's path as an actor and director.
Although divorced, De Sica never parted from his first family. He led a double family life, with double celebrations on holidays. It is said that, at Christmas and on New Year's Eve, he used to put back the clocks by two hours in Mercader's house so that he could make a toast at midnight with both families. His first wife agreed to keep up the facade of a marriage so as not to leave her daughter without a father.
Vittorio De Sica died at 73 after a surgery at the Neuilly-sur-Seine hospital in Paris.
Read more about this topic: De Sica
Famous quotes containing the words private life, private and/or life:
“When I think of the gold-diggers and the Mormons, the slaves and the slave-holders and the flibustiers, I naturally dream of a glorious private life. No, I am not patriotic.”
—Henry David Thoreau (1817–1862)
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.”
—Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)
“We cannot discuss the state of our minorities until we first have some sense of what we are, who we are, what our goals are, and what we take life to be. The question is not what we can do now for the hypothetical Mexican, the hypothetical Negro. The question is what we really want out of life, for ourselves, what we think is real.”
—James Baldwin (1924–1987)