film director and actor who was a major figure in the Italian Neorealist movement.

During a prolific career that spanned 55 years, De Sica directed 35 films and acted in more than 150. His career as an actor began in 1918 with a small part in a silent film. Throughout the 1920s he performed in films and musical theatre and with touring theatre companies before attaining stardom in Italy with his role in Mario Camerini's Gli uomini, che mascalzoni! (1932; “What Rascals Men Are!”). De Sica's subsequent roles throughout the 1930s established him as a romantic leading man who was especially deft at light comedy; many critics have compared his screen persona to that of Cary Grant (Grant, Cary).

Although he maintained a successful acting career until the end of his life, De Sica's directorial efforts—usually in collaboration with screenwriter Cesare Zavattini (Zavattini, Cesare)—are regarded as his more influential contribution to cinema history. The roots of Neorealism—an emphasis upon simple, honest story lines, a documentary style, the frequent use of children as protagonists, on-location shooting, social themes, and faith in the brotherhood of man—are found in De Sica's early works, particularly Teresa Venerdì (1941; Doctor Beware) and I Bambini ci guardano (1942; The Children Are Watching Us). It was during the postwar peak of Neorealism, however, that De Sica became one of the world's most acclaimed directors with four masterpieces of the genre: Sciuscià (1946; Shoeshine), an account of the tragic lives of two children during the American occupation of Italy; Ladri di biciclette (1948; The Bicycle Thief), an Oscar winner for best foreign film; Miracolo a Milano (1951; Miracle in Milan), a comic parable about the clash of rich and poor in Milan; and Umberto D. (1952), a tragedy about a lonely pensioner, his dog, and a young maid who takes pity upon them both. The performances of the largely amateur casts in these films received widespread acclaim. As he was a skilled actor himself, De Sica worked well with nonprofessionals, especially small children, from whom he was able to elicit masterful performances.

De Sica's later works combine the style of his Neorealist classics with techniques he learned during his Hollywood years. Il giardino dei Finzi-Contini (1970; The Garden of the Finzi-Continis), winner of an Oscar for best foreign film, was an extremely successful adaptation of Giorgio Bassani's classic novel about the destruction of the Jews in the city of Ferrara during the Holocaust. Una breve vacanza (1973; A Brief Vacation), the simple tale of a hospital volunteer worker, was in the style of De Sica's Neorealist films. De Sica's last film, Il viaggio (1974; The Voyage), was an adaptation of a short story by Luigi Pirandello that paired Richard Burton (Burton, Richard) with De Sica's favourite actress, Sophia Loren.