388 reviews
It is post-war Rome and much of the city's residents are impoverished and desperate for work. One man named Ricci who haunts the job lines day after day to provide for his wife and two children, when suddenly his name is called for a well-paying city job. The only catch is that he needs a bicycle for the job, and he has just pawned his bicycle in order to feed his family. Thus begins `The Bicycle Thief', Vittorio de Sica's gritty study in realism. Ricci and his wife sell the sheets off of their beds to get the bicycle back, only to have the bicycle stolen on his first day on the job. In order to keep the job, he and his young son walk around Rome, desperate to find the thief, and more importantly, the bicycle before his next day of work.
de Sica chose non-actors to portray the characters in the film, favoring a further realistic vision by casting amateurs. The result is remarkable, because the pain and emotions conveyed are so true. The relationship between father and son is also compelling and endearing, in that for the most part, Ricci treats his son as an equal, letting him in on his innermost thoughts and fears, until the end, when a particular event causes him to be ashamed, and the roles become defined once again.
`The Bicycle Thief' personifies the refreshing fact that European cinema was more daring and also true in their reaction to post-war life. While America was trying to paint a heavy coat of rosy paint on the times by churning out the saccharine MGM musicals by the dozen, Europe was showing that the effects of a war fought on their home turf did not inspire moments of spontaneously breaking into song, or a choreographed dance number, rather life pretty much sucked, but survival, as difficult and ugly as it can be, is most important. `The Bicycle Thief' has been a critical favorite for decades, and for good reason. It is a must-see film for any cinephile.
--Shelly
de Sica chose non-actors to portray the characters in the film, favoring a further realistic vision by casting amateurs. The result is remarkable, because the pain and emotions conveyed are so true. The relationship between father and son is also compelling and endearing, in that for the most part, Ricci treats his son as an equal, letting him in on his innermost thoughts and fears, until the end, when a particular event causes him to be ashamed, and the roles become defined once again.
`The Bicycle Thief' personifies the refreshing fact that European cinema was more daring and also true in their reaction to post-war life. While America was trying to paint a heavy coat of rosy paint on the times by churning out the saccharine MGM musicals by the dozen, Europe was showing that the effects of a war fought on their home turf did not inspire moments of spontaneously breaking into song, or a choreographed dance number, rather life pretty much sucked, but survival, as difficult and ugly as it can be, is most important. `The Bicycle Thief' has been a critical favorite for decades, and for good reason. It is a must-see film for any cinephile.
--Shelly
The Italian neo-realist film movement began around the end of WWII with Roberto Rossellini's OPEN CITY in 1946. It is defined and encapsulated by this striking film directed by Vittorio De Sica. THE BICYCLE THIEF is the best of a group of films that depicted the hardship and despair that Europeans, specifically Italians, went through after the death and destruction of the war. The economy was horrible, and the towns and cities were half-destroyed and decaying. Rome is the location for THE BICYCLE THIEF and De Sica shoots the city in grainy black and white with non-professional actors to get a simple, yet unbearingly emotional point across. A simple thing such as a bike can be someone's entire world at that time and losing it means doing something irrational or perhaps necessary.
The lead in the film is played by Lamberto Maggiorani who seems to be a very good actor. He is not an actor, however, and maybe this is why the film hits its mark so well and comes across so realistically. Maggiorani is of this difficult world and his brooding face is a clear indication of this. His job is to plaster film posters up on the walls of buildings all over Rome. He even hangs a picture that symbolizes the absolute opposite of the misery surrounding him. Rita Hayworth from GILDA is on the walls all over the city, a sign of joy to some, a representation of their own lowly status to others.
When the bicycle is actually stolen, the "title" character is sought after by Maggiorani and his young son (Enzo Staiola), a little kid with so much acting ability, you swear this must be a documentary. A grueling search throughout Rome has the essential parts of the movie, because we see up close the actual people and places the neo-realist film movement came to represent. It is a small, sad world they live in and the bike has to be found so that they can live. The father is put to the ultimate test in front of his son. Will he do the honorable thing or will he do what his mind and heart know is only possible? These are the tense moments of the film's climax.
There is a lot of THE BICYCLE THIEF in Benigni's LIFE IS BEAUTIFUL and some obvious comparisons have been drawn because of the father-son relationship. They are worthy of comparison and have equal artistic prowess. What is different about THIEF is the level of intensity maintained throughout. I felt the key element was the music by Alessandro Cicognini, a simple horn that plays so tragically that it is a main character in the picture. What De Sica does here, as well as other neo-realist directors (Rossellini, Fellini), is create for American audiences a powerful counterpoint to what we are used to. An honest, non-corporate portrait of the struggle for life and self-respect. THE BICYCLE THIEF is one of the finest films ever made.
RATING: 10 of 10
The lead in the film is played by Lamberto Maggiorani who seems to be a very good actor. He is not an actor, however, and maybe this is why the film hits its mark so well and comes across so realistically. Maggiorani is of this difficult world and his brooding face is a clear indication of this. His job is to plaster film posters up on the walls of buildings all over Rome. He even hangs a picture that symbolizes the absolute opposite of the misery surrounding him. Rita Hayworth from GILDA is on the walls all over the city, a sign of joy to some, a representation of their own lowly status to others.
When the bicycle is actually stolen, the "title" character is sought after by Maggiorani and his young son (Enzo Staiola), a little kid with so much acting ability, you swear this must be a documentary. A grueling search throughout Rome has the essential parts of the movie, because we see up close the actual people and places the neo-realist film movement came to represent. It is a small, sad world they live in and the bike has to be found so that they can live. The father is put to the ultimate test in front of his son. Will he do the honorable thing or will he do what his mind and heart know is only possible? These are the tense moments of the film's climax.
There is a lot of THE BICYCLE THIEF in Benigni's LIFE IS BEAUTIFUL and some obvious comparisons have been drawn because of the father-son relationship. They are worthy of comparison and have equal artistic prowess. What is different about THIEF is the level of intensity maintained throughout. I felt the key element was the music by Alessandro Cicognini, a simple horn that plays so tragically that it is a main character in the picture. What De Sica does here, as well as other neo-realist directors (Rossellini, Fellini), is create for American audiences a powerful counterpoint to what we are used to. An honest, non-corporate portrait of the struggle for life and self-respect. THE BICYCLE THIEF is one of the finest films ever made.
RATING: 10 of 10
The Bicycle Thief is without a doubt De Sica's masterpiece of Italian neorealism filmmaking. It is a true landmark in cinema history.
A man who has been unemployed for months is finally given a chance at a job putting up posters. He and his family have been living in poverty for months, and are very exited to hear the news. The only requirement for the job is a bicycle. His wife pawns the sheets off of their own bed in order to buy the bicycle. And, as you can tell from the title, it is stolen on his first day of work. Now, without it, he and his son search the crowded streets of Rome for the only thing that can give him back his dignity as a man.
This is a simple, but very powerful film and I found the relationship between Bruno and his father especially touching. The final scene is a true captivating moment as Bruno witnesses the true nature of man and the world we have created for ourselves.
Don't miss this film, to call it a classic would be an understatement.
A man who has been unemployed for months is finally given a chance at a job putting up posters. He and his family have been living in poverty for months, and are very exited to hear the news. The only requirement for the job is a bicycle. His wife pawns the sheets off of their own bed in order to buy the bicycle. And, as you can tell from the title, it is stolen on his first day of work. Now, without it, he and his son search the crowded streets of Rome for the only thing that can give him back his dignity as a man.
This is a simple, but very powerful film and I found the relationship between Bruno and his father especially touching. The final scene is a true captivating moment as Bruno witnesses the true nature of man and the world we have created for ourselves.
Don't miss this film, to call it a classic would be an understatement.
- PureCinema
- Jan 29, 1999
- Permalink
- ItalianGerry
- Apr 10, 2004
- Permalink
Vittorio De Sica's ground/heartbreaking motion picture, The Bicycle Thief, is based on a very simple ideal for a story- man against the elements. In this case the elements are of a society that is often cruel and unforgiving, and that a job in post-war Rome is looked on as the luckiest of good luck charms.
Such a man as presented by De Sica is Maggiorani (an actor who really is the type of actor right off the street), a father of a little boy who gets a job putting up movie posters along some walls in Rome. To do this he needs a bicycle, or the job will be lost, and he gets one following a pawning of linen sheets. Very soon though, the bicycle is stolen, and from there a sad downward spiral unravels for the man and his son as they scour the streets for the bicycle.
While the score adds basic dramatic tension, everything else on the screen is done to such a pitch of neo-realism it's at times shattering, joyful (scene in the pizzeria the most note-worthy), and with a feeling of day-to-day resonance to those who may have not even felt at or below the poverty level in their lives. Credit due to all parties involved, though I don't think the boy Bruno, played by Staiola, gets nearly enough considering his role as a minor coming of age (that moment after the father and son leave the church nearly brought tears to my eyes). A++
Such a man as presented by De Sica is Maggiorani (an actor who really is the type of actor right off the street), a father of a little boy who gets a job putting up movie posters along some walls in Rome. To do this he needs a bicycle, or the job will be lost, and he gets one following a pawning of linen sheets. Very soon though, the bicycle is stolen, and from there a sad downward spiral unravels for the man and his son as they scour the streets for the bicycle.
While the score adds basic dramatic tension, everything else on the screen is done to such a pitch of neo-realism it's at times shattering, joyful (scene in the pizzeria the most note-worthy), and with a feeling of day-to-day resonance to those who may have not even felt at or below the poverty level in their lives. Credit due to all parties involved, though I don't think the boy Bruno, played by Staiola, gets nearly enough considering his role as a minor coming of age (that moment after the father and son leave the church nearly brought tears to my eyes). A++
- Quinoa1984
- Apr 7, 2003
- Permalink
- ACitizenCalledKane
- Jan 31, 2005
- Permalink
In the post-war Rome, after more than two-year unemployment, the family man Antonio Ricci (Lamberto Maggiorani) finally finds a disputed job position putting up posters that requires having a bicycle. However, he needs to retrieve his bicycle in the pawn shop but he does not have money. His wife Maria (Lianella Carell) pawns their bed sheets and uses the money to recover the precious bicycle. Antonio envisions a better life for his family with his salary, overtime and benefits. Unfortunately, his bicycle is stolen on the first working day. Antonio and his son Bruno (Enzo Staiola) spend the Sunday chasing the bicycle and the thief on the streets of Rome.
"Ladri di Biciclette" is a heartbreaking masterpiece of the Italian Neo- Realism and one of the best movies of cinema history ever. This is the third time that I watch this unforgettable film that makes me sad with the desperation of Antonio and his lack of perspective in the end. There are memorable touching scenes, like Bruno eating pizza in the restaurant wearing a torn coat and contrasting with the wealthy family; or the happiness of the clumsy Antonio putting up the poster of Rita Hayworth in "Gilda"; or the indecision of Bruno between a dish of soup in the church or chasing the old man with his father; or the shame of Antonio in the end. The DVD released in Brazil by Spectra Nova has good quality of image, subtitles in yellow but no Extras. The DVD released by Versátil uses the same matrix of Spectra Nova but with subtitles in white, and it is difficult the reading by the viewer. However, there are many Extras. My vote is ten.
Title (Brazil): "Ladrões de Bicicleta" ("Thieves of Bicycle")
"Ladri di Biciclette" is a heartbreaking masterpiece of the Italian Neo- Realism and one of the best movies of cinema history ever. This is the third time that I watch this unforgettable film that makes me sad with the desperation of Antonio and his lack of perspective in the end. There are memorable touching scenes, like Bruno eating pizza in the restaurant wearing a torn coat and contrasting with the wealthy family; or the happiness of the clumsy Antonio putting up the poster of Rita Hayworth in "Gilda"; or the indecision of Bruno between a dish of soup in the church or chasing the old man with his father; or the shame of Antonio in the end. The DVD released in Brazil by Spectra Nova has good quality of image, subtitles in yellow but no Extras. The DVD released by Versátil uses the same matrix of Spectra Nova but with subtitles in white, and it is difficult the reading by the viewer. However, there are many Extras. My vote is ten.
Title (Brazil): "Ladrões de Bicicleta" ("Thieves of Bicycle")
- claudio_carvalho
- Mar 22, 2010
- Permalink
- caspian1978
- Sep 7, 2001
- Permalink
- Laitue_Gonflable
- Jan 13, 2005
- Permalink
There's not much that can be said about "The Bicycle Thief" that hasn't already been expressed. It is considered a great work of the Italian cinema, and looking at it in its 1999 release version, one can see why.
Structurally, it's a theme and variations, with such a simple, clearly stated main motif that one can identify and follow its mutations with no effort. DeSica is clearly the fine craftsman here, directing every scene with a beautiful sense of control and balance.
His work with young Enzo Staiola (as Bruno) is especially commendable, and he allows then nonprofessionals Lamberto Maggiorani (as Antonio) and Lianella Carell (as Marie) to act in a model of naturalism.
Carlo Montuori's photography is brilliant, and Antonio Traverso's production design is pungent and atmospheric. Like most "masterpieces," a film-classic score provides emotional depth in a subliminal way: here it's a romantic, Italianesque original composition by Aessandro Cicognini wraps up the entire production.
DeSica's career is most impressive, being involved in nealy 200 films, 165 of them as an actor. This film remains one of his greatest achievements. It seems to be standing the test of time very nicely, too. It's been criticized, sometimes quite severely, and just continues to bounce back, winning new admirers with each reissue. The public just won't let "The Bicycle Thief" fade away. That alone tends to override any negative factors. It looks like this film is going to be around for quite a while. ###
Structurally, it's a theme and variations, with such a simple, clearly stated main motif that one can identify and follow its mutations with no effort. DeSica is clearly the fine craftsman here, directing every scene with a beautiful sense of control and balance.
His work with young Enzo Staiola (as Bruno) is especially commendable, and he allows then nonprofessionals Lamberto Maggiorani (as Antonio) and Lianella Carell (as Marie) to act in a model of naturalism.
Carlo Montuori's photography is brilliant, and Antonio Traverso's production design is pungent and atmospheric. Like most "masterpieces," a film-classic score provides emotional depth in a subliminal way: here it's a romantic, Italianesque original composition by Aessandro Cicognini wraps up the entire production.
DeSica's career is most impressive, being involved in nealy 200 films, 165 of them as an actor. This film remains one of his greatest achievements. It seems to be standing the test of time very nicely, too. It's been criticized, sometimes quite severely, and just continues to bounce back, winning new admirers with each reissue. The public just won't let "The Bicycle Thief" fade away. That alone tends to override any negative factors. It looks like this film is going to be around for quite a while. ###
- mrbadguy-1
- Jul 25, 2004
- Permalink
Many films that were made more than 40-50 years ago are difficult to watch at times. Not because they are low-quality, but because the storytelling techniques were different, and in this case, the subject matter was just an overall downer. Now, I have adapted to watching foreign films. There was a time when I didn't like the subtitles side to those films, but I've seen so many now that I don't really even think about it. So my opinions on the film reflect nothing to do with the fact that it's a foreign film, or old for that matter. But I have to say, I didn't really think Bicycle Thieves was as good as the critics have rated it, or good enough to be on one of the all-time greatest films list.
There's nothing bad about the film though, it's a unique story about a family in war-time Italy and the struggles that everyone went through in finding a job at that time. These people had no choice but to work, and they had to work jobs that they may not have been pleased with. I liked that part of the movie. They did a great job at making believe that this was a place where a bicycle could get stolen just like that. But to be honest I never found the full story to be all that interesting. The kid tries to throw in some comedic relief and dramatic depth to the role but some of it falls pretty flat. But I did get a little bit of that Life is Beautiful vibe from their relationship at times, that much I liked.
The problem with the film is that I didn't care enough about the characters to feel something when the going got rough. For the most part, our lead character is pretty unlikable and doesn't do enough to make himself appealing anyway. The acting is fine, the film looks fine, and the directing is fine, but that's not good enough. I found too many things in the film to just be average.
+Set up the world nicely
+Acting is fine
-Kid's performance is iffy
-Didn't feel special
6.5/10
There's nothing bad about the film though, it's a unique story about a family in war-time Italy and the struggles that everyone went through in finding a job at that time. These people had no choice but to work, and they had to work jobs that they may not have been pleased with. I liked that part of the movie. They did a great job at making believe that this was a place where a bicycle could get stolen just like that. But to be honest I never found the full story to be all that interesting. The kid tries to throw in some comedic relief and dramatic depth to the role but some of it falls pretty flat. But I did get a little bit of that Life is Beautiful vibe from their relationship at times, that much I liked.
The problem with the film is that I didn't care enough about the characters to feel something when the going got rough. For the most part, our lead character is pretty unlikable and doesn't do enough to make himself appealing anyway. The acting is fine, the film looks fine, and the directing is fine, but that's not good enough. I found too many things in the film to just be average.
+Set up the world nicely
+Acting is fine
-Kid's performance is iffy
-Didn't feel special
6.5/10
- ThomasDrufke
- Jul 23, 2015
- Permalink
It's interesting to see the street scenes, the apartments, the roadways and the buses in postwar Rome. Those scenes alone make the movie worth watching.
But that's about it.
The plot is minimalistic, the acting is passable, the pace is very slow, and the soundtrack is poor. There is some suspense initially in the movie, but when you realize that nothing really happens, the suspense rapidly falls away, while the drudgery continues.
I have certainly seen worse movies than this over the years- it's not bad, just boring, very slow moving and somewhat pointless- but seeing reviewers claim it's one of the best of all time is beyond bizarre.
I'm beginning to conclude that if a movie is dark, depressing, and soulless, it will resonate well with the so called "learned reviewers". Personally, I'd prefer some content.
But that's about it.
The plot is minimalistic, the acting is passable, the pace is very slow, and the soundtrack is poor. There is some suspense initially in the movie, but when you realize that nothing really happens, the suspense rapidly falls away, while the drudgery continues.
I have certainly seen worse movies than this over the years- it's not bad, just boring, very slow moving and somewhat pointless- but seeing reviewers claim it's one of the best of all time is beyond bizarre.
I'm beginning to conclude that if a movie is dark, depressing, and soulless, it will resonate well with the so called "learned reviewers". Personally, I'd prefer some content.
In post-World War II Italy poverty is a dire reality for a large portion of the population. Work is scarce and the opportunities for employment are few and far between. "Ladri Di Biciclette" (translated "The Bicycle Thief") is quietly one of the finest films ever produced. It follows one economically distraught man (Lamberto Maggiorani) who is heading down a desperate path fast. Things look up when he gets a job putting posters on walls in town, but he must sell what few meager possessions he and his family have to buy a bicycle to uphold his end of the business bargain. Naturally tragedy strikes immediately as the title character shows up the very first day Maggiorani is on the job. The police are little help, believing the bicycle is not as important as it really is. Thus Maggiorani and young son Enzo Staiola take it upon themselves to look all over town to try and find the bicycle and bring the thief to justice. "The Bicycle Thief" was originally released in 1948 and won an Honorary Academy Award for Best Foreign Language film the following year (the movie was not released in the U.S. until 1949). It is still a production that strikes deep even today. The lengths and desperate measures that some go through is very evident here. Director Vittorio De Sica crafts a film that is much deeper than it appears on the surface. It examines the human condition and questions society, family, law enforcement, alliances and mental anguish perfectly. "The Bicycle Thief" is an excellent production that has aged well and allows the viewer to think about many subjects that go beyond ordinary cinematic depths. 5 stars out of 5.
Semantically speaking, self-realization is a probable prelude to catharsis, but at a much higher echelon of cognition the two become virtually inseparable as attaining the former would automatically yield the latter. At this threshold of enlightenment, human spirit attains a sense of ephemeral divinity that would either drive the human crazy or would lead him to salvation. This enlightenment can seldom be attained through vicarious means. Even cinema, with its unparalleled potential to stimulate and satiate, mostly falls short of being cathartic, and only in the rarest of the rare cases does it manage to accomplish the incredible and the extraordinary. Undoubtedly, Bicycle Thieves is one such rare moment of triumph, wherein cinema becomes not only the tool but also the medium for the viewer to attain eternal salvation.
Bicycle Thieves is an Italian neo-realist film by Vittorio De Sica. Neo- realism, a naturalistic movement in Italian cinema of the 1940s, aimed at giving cinema a new degree of realism, which promoted the use of an amateur cast vis-à-vis a professionally trained one and advocated shooting at real locations instead of the custom-built sets & studios. Keeping up with the spirit of the movement, Vittorio De Sica chose a factory fitter who had brought his son along for an audition as his male lead. His lead actress was a journalist who had approached him for an interview, while the young boy was filled by a child spotted in the crowd watching the filming.
Bicycle Thieves tells the story of a poor worker searching the streets of Rome for his stolen bicycle, which he needs to keep his job intact. The movie is an amalgam of contrasting human feelings of hope & despair, sacrifice & gratification, euphoria & melancholy, love & detestation, and malice & benevolence. Bicycle Thieves performs the central function of art, which is to discover the meaning of life. The movie brilliantly handles with utmost care and precision the tender and often painful relationship that universally exists between a father and a son. The later half of the movie presents cinema at its most vivid, vituperative and volatile culminating in one of the most impactful, melancholic and brutally humanistic finales ever filmed in cinematic history, the agony of which would keep the viewer contemplating for weeks, months, or even years.
The screenplay is simplistic, thought-provoking and at times nakedly brutal, while the cinematography is so effortless and magnificently beautiful that it appears as though a soul of a man has been filmed, and its true essence has been captured and preserved. The poignancy of the background score casts such a sustained spell that the movie experience is enhanced beyond imagination. American playwright Arthur Miller called it a lyrical masterpiece as it examines openly the destructive and draconian world man has made for himself. Marlon Brando once said, "Bicycle Thieves is the perfect example of what can be done in front of the motion picture camera and is so rarely done". Academy winner, Henry Fonda was so moved by the movie that he was tempted to write Vittorio De Sica a fan letter. The film is frequently on critics' and directors' lists of the best films ever made. It has captured every honor that the world of film can bestow including an Academy Honorary Award in 1950.
All these accolades and the ubiquitous acclaim cannot describe the actual experience of seeing this film and becoming a part of its emotional impact. It makes the viewer laugh, cry and experience a rainbow of emotions. Bicycle Thieves has withstood the test of time for over six decades, and is a film for anyone and everyone.
PS. It is a cinematic magnum opus, which accentuates the true might of cinema, and is a must for everyone, irrespective of cast, color, creed or gender. It's an ageless cinema for people of all age groups. 10/10
http://www.apotpourriofvestiges.com/
Bicycle Thieves is an Italian neo-realist film by Vittorio De Sica. Neo- realism, a naturalistic movement in Italian cinema of the 1940s, aimed at giving cinema a new degree of realism, which promoted the use of an amateur cast vis-à-vis a professionally trained one and advocated shooting at real locations instead of the custom-built sets & studios. Keeping up with the spirit of the movement, Vittorio De Sica chose a factory fitter who had brought his son along for an audition as his male lead. His lead actress was a journalist who had approached him for an interview, while the young boy was filled by a child spotted in the crowd watching the filming.
Bicycle Thieves tells the story of a poor worker searching the streets of Rome for his stolen bicycle, which he needs to keep his job intact. The movie is an amalgam of contrasting human feelings of hope & despair, sacrifice & gratification, euphoria & melancholy, love & detestation, and malice & benevolence. Bicycle Thieves performs the central function of art, which is to discover the meaning of life. The movie brilliantly handles with utmost care and precision the tender and often painful relationship that universally exists between a father and a son. The later half of the movie presents cinema at its most vivid, vituperative and volatile culminating in one of the most impactful, melancholic and brutally humanistic finales ever filmed in cinematic history, the agony of which would keep the viewer contemplating for weeks, months, or even years.
The screenplay is simplistic, thought-provoking and at times nakedly brutal, while the cinematography is so effortless and magnificently beautiful that it appears as though a soul of a man has been filmed, and its true essence has been captured and preserved. The poignancy of the background score casts such a sustained spell that the movie experience is enhanced beyond imagination. American playwright Arthur Miller called it a lyrical masterpiece as it examines openly the destructive and draconian world man has made for himself. Marlon Brando once said, "Bicycle Thieves is the perfect example of what can be done in front of the motion picture camera and is so rarely done". Academy winner, Henry Fonda was so moved by the movie that he was tempted to write Vittorio De Sica a fan letter. The film is frequently on critics' and directors' lists of the best films ever made. It has captured every honor that the world of film can bestow including an Academy Honorary Award in 1950.
All these accolades and the ubiquitous acclaim cannot describe the actual experience of seeing this film and becoming a part of its emotional impact. It makes the viewer laugh, cry and experience a rainbow of emotions. Bicycle Thieves has withstood the test of time for over six decades, and is a film for anyone and everyone.
PS. It is a cinematic magnum opus, which accentuates the true might of cinema, and is a must for everyone, irrespective of cast, color, creed or gender. It's an ageless cinema for people of all age groups. 10/10
http://www.apotpourriofvestiges.com/
- murtaza_mma
- Apr 8, 2011
- Permalink
Vittorio De Sica's Ladri di Biciclette (1948) touches us deeply in the spirit as if its moving images on the screen were made of the same material of our soul. We connect and relate; this movie tells us what we are and what we truly care among human things. The loss of the bicycle is for Antonio and his family an immense tragedy, their dreams of a better life are stolen; like every time we lose something or is taken away which could prevent from poverty and sufferance. It is in these magnificent films that we best see and know ourselves and feel relate to other people beyond the simple psychology of social provenience – it's just a film, but by watching it we look up on the most beautiful reflector of excellence and come close a little more to the understanding on how to become better persons; in both the arts and reality, it is an act of love. The musical score by Alessandro Cicognini is beautiful.
- albertoveronese
- Nov 30, 2010
- Permalink
Italian Neorealism has always been one of my favorite film movements, and The Bicycle Thief appears to be one the finest examples of this medium. While people today might not understand the power in the story, one has to understand the nature state of Italy after World War II. The country was in ruins, and finding a good job was difficult. Desperation took over more often than reason, and this leads to the eventual climax of self pity and remorse. Quite a powerful film, for it is the only foreign film I have on my personal Top 25 list.
"Ladri di biciclette" is a timeless classic that everyone should see. The film, set in post-war Italy, highlights the theme of economic decline in the 1940s and does so with such skill that it's no wonder it is considered one of the foundational works of Italian cinema. The film reveals the hardship of ordinary people and the lengths they have to go to survive in a world that seems to have left them behind.
The film's portrayal of the characters is touching and heart-wrenching, and it's impossible not to be moved by their struggles. The attention to detail and the artistry of the film are simply stunning, and it's a testament to the filmmakers that the film still resonates with audiences today.
The film's portrayal of the characters is touching and heart-wrenching, and it's impossible not to be moved by their struggles. The attention to detail and the artistry of the film are simply stunning, and it's a testament to the filmmakers that the film still resonates with audiences today.
A poor man relies on his bicycle to do his job, but it is stolen, leading to much angst. This landmark film of the Italian neo-realism movement has some fine moments and is ultimately touching. However, its historical significance should not be confused with its artistic merit. The simple plot is drawn out too much, and for a film made in 1948, it looks rather primitive, as if it were made two decades earlier. The acting by a cast of first-time actors is nothing more than average, although the little boy is adorable. Maggiorani looks like a cross between Humphrey Bogart and Clint Eastwood! It's a decent film, but falls far short of its reputation as one of the all-time greats.
This was one of the few remaining well-known classic films which I hadn't seen before joining this HoF. I was a bit worried that it wouldn't live up to its reputation, but fortunately, it ended up blowing me away.
I noticed that some people here criticized how Antonio grows more and more unlikable as the film progresses, but I think that was actually the point of his character. Watching him slowly lose his humanity by acting forceful with the various people he encounters while the chances of him reclaiming his stolen bicycle kept diminishing was quite tragic. During his attempts to reclaim his stolen bicycle, he acts forceful with an elderly man, he rudely disrupts a church sermon, he slaps his son, and he acts forceful with a young boy and potentially causes him to have a seizure. I found the ending to be a powerful culmination to his arc as it showed how much the events of that day had changed him and lowered his morals.
The excellent twin performances from Lamberto Maggiorani (Antonio) and Enzo Staiola (Bruno) enhance the film's emotional core. Maggiorani is able to transmit so much of the desperation and hopelessness he experiences in the film through his facial expressions. Equally impressive is Staiola's performance. Despite being only 9 years old when this film was released and not having many lines, he reflects both the increasing desperation his father feels as the film progresses in addition to the direct and indirect pain his father causes him throughout the film onto his face. I found the final scene to be quite heartbreaking, in part due to the thematic implications of it and also due to the facial expressions from both actors.
While the emotional core to the film is compelling, this film is a lot more than just a story about a stolen bicycle. It's also a bleak portrait of the poverty which many Italians faced post-World War II. We see some immediate effects of this like crowds of people desperately trying to get jobs, people shoving past each other to get on buses, and people selling their personal possessions to get a job. The film also explores the various ways people coped with poverty, like resorting to thievery, falsely claiming they could see the future by becoming a fortune teller, or being a prostitute. Most of these effects weren't explored in much detail and were instead treated as backdrops to the main action, but they got under my skin regardless and made the film's scope both epic and intimate at the same time. In the chaotic, poverty stricken city shown in the film, Antonio's bicycle means everything to him and it's clear how vital it is that he reclaims it.
I noticed that some people here criticized how Antonio grows more and more unlikable as the film progresses, but I think that was actually the point of his character. Watching him slowly lose his humanity by acting forceful with the various people he encounters while the chances of him reclaiming his stolen bicycle kept diminishing was quite tragic. During his attempts to reclaim his stolen bicycle, he acts forceful with an elderly man, he rudely disrupts a church sermon, he slaps his son, and he acts forceful with a young boy and potentially causes him to have a seizure. I found the ending to be a powerful culmination to his arc as it showed how much the events of that day had changed him and lowered his morals.
The excellent twin performances from Lamberto Maggiorani (Antonio) and Enzo Staiola (Bruno) enhance the film's emotional core. Maggiorani is able to transmit so much of the desperation and hopelessness he experiences in the film through his facial expressions. Equally impressive is Staiola's performance. Despite being only 9 years old when this film was released and not having many lines, he reflects both the increasing desperation his father feels as the film progresses in addition to the direct and indirect pain his father causes him throughout the film onto his face. I found the final scene to be quite heartbreaking, in part due to the thematic implications of it and also due to the facial expressions from both actors.
While the emotional core to the film is compelling, this film is a lot more than just a story about a stolen bicycle. It's also a bleak portrait of the poverty which many Italians faced post-World War II. We see some immediate effects of this like crowds of people desperately trying to get jobs, people shoving past each other to get on buses, and people selling their personal possessions to get a job. The film also explores the various ways people coped with poverty, like resorting to thievery, falsely claiming they could see the future by becoming a fortune teller, or being a prostitute. Most of these effects weren't explored in much detail and were instead treated as backdrops to the main action, but they got under my skin regardless and made the film's scope both epic and intimate at the same time. In the chaotic, poverty stricken city shown in the film, Antonio's bicycle means everything to him and it's clear how vital it is that he reclaims it.
- brianberta
- May 12, 2021
- Permalink
Just saw The Bicycle Thief and it certainly did not come close to being The Best Film of all time. I do understand the historical context of the film but where is the depth of character? What do we finally understand about ourselves and the world? Is the message of the film that men will sacrifice their values for survival? Not such a deep revelation in my eyes. Are we to understand that love continues despite the weakness of character? Again, no great shakes there! Yes, life is tough and in the real world things do not turn out OK and people get screwed with no recourse especially in the aftermath of war. Anyone surprised?I left this film saddened by the plight of the man and his son, but I didn't feel that this was enough to justify all of the accolades that this film has received. Nice film--nice photography--interesting historically--but way overrated.
- dr_foreman
- Mar 9, 2008
- Permalink
....is the relationship of the father and son.
Watch the film with your focus on the son, not the father. Watch what happens to the boy, what he sees, how he is influenced, his point of view. The father is so preoccupied with the bicycle he fails to see what is happening to his son. This is the strength of the film. Watch the boy.
Watch the film with your focus on the son, not the father. Watch what happens to the boy, what he sees, how he is influenced, his point of view. The father is so preoccupied with the bicycle he fails to see what is happening to his son. This is the strength of the film. Watch the boy.