Cast: Lamberto Maggiorani (Antonio Ricci), Enzo Staiola (Bruno Ricci), Lianella Carell (Maria Ricci), Gino Saltamerenda (Baiocco), Vittorio Antonucci (the bicycle thief), Giulio Chiari (the beggar).]. Set in post WW2 Italy, it tells the story of the Ricci family, who were deeply affected by the war, not only physically and financially, but spiritually and emotionally as well. De Sica chooses not to leave the pain at this point, but rather focuses on the despair of Antonio’s son Bruno who not only sees his father in trouble having stolen a bicycle, but also recognises that his father has betrayed himself in an act of desperation. Antonio breaks the good news to his wife but things are complicated by his need for a bicycle; without one he’s won’t be able to work. The camera – itself apparently mounted on a bike – appears to free-wheel and provides a sense of movement and mobility. He does not show the future of Antonio, and does not comment on the further choices available to him, instead offering realism within the confines of the event. We see Bruno copying and looking up to his father seemingly as his role-model (MISE-EN-SCENE -PERFORMANCE). The next scene takes place at the pawnbroker’s shop. But soon his bicycle is stolen. De Sica hoped to expose the physical hunger and spiritual despair that was felt, as it was a common feeling among people all over the world. Is A 3D Corporate Video A Good Idea For Your Brand? A perfect example of the neorealist style is depicted through Vittorio De Sica’s “The Bicycle Thief” (1948). At one point the audience is positioned right in among the commuting cyclists. On the contrary, in order to produce well-rounded essays with good close textual analysis your work will still have to use the micro and macro elements as a stepping stone into the broader approaches listed above. Directed by Vittorio De Sica. Antonio is released and he walks off with his son, now a bicycle thief. Italy at the end of the Second World War was a broken, occupied country with mass unemployment and unfettered corruption (much of which stemmed from the now defunct Black Shirts, or from the Christian Democrats, or the Communist Party, with each group giving preference its own interests and promoting its members or associates over others). Following the death of publishing tycoon Charles Foster Kane, reporters scramble to uncover the meaning of his final utterance; 'Rosebud'. The implication is that Maria and Antonio are not the only family in this situation, on the contrary; their characters, it would seem, are merely being used to articulate a much wider social problem afflicting Italy’s working class population (CONTEXT). During the war, Mussolini put a complete halt on all imports of films produced by “the enemy”, specifically Hollywood. It is important to note that the right-wing administration of the time would have been eager to avoid this reality being publicised on movie screens both domestically and abroad. He cares for his father’s bike and knows more about it than he does. There is a subtle but crucial moment of performance here. In the final passage of the film’s exposition (NARRATIVE) we cut to (EDITING) Antonio cycling to work.
Bicycle Thieves The numerous bicycle props throughout the film also create a sense of suspense—viewers are likely wondering if he’ll spot his bicycle. After refusing to attack an enemy position, a general accuses the soldiers of cowardice and their commanding officer must defend them. Miller noted that ‘The film is unafraid to examine, openly, straightforwardly, the terrible, distorted, destructive world which man has made for himself. A screenwriter develops a dangerous relationship with a faded film star determined to make a triumphant return. There may not have been a happy ending and even if there was, the story still continues for the rest of the characters lives. In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
It’s at this point that we meet Antonio and Maria’s son Bruno (hooray). But Bicycle Thieves was actually methodically scripted and had to be carefully planned, especially when it came to the crowd scenes. As the scene progresses further it becomes apparent that this group of men, like Antonio, are unemployed and desperate for work. The condition of the job as a poster hanger is that he needs to have a bicycle, but in order to feed his family Antonio had already pawned his bicycle. For example, his character is first portrayed as having a relatively high moral standard, but by the end of the film, he compromises his values by threatening to kill people, going to a seer for advice, becoming more hostile toward his son, and attempting to steal a bike. Many of them are skilled. A long continuous take then dissolves into a tracking shot as a group of men gather hurriedly at the foot of some steps. A veteran British barrister must defend his client in a murder trial that has surprise after surprise. Antonio never recovers his bicycle, and his life continues on a downward spiral. Bicycle Thieves opens with a slow pan (CINEMATOGRAPHY- CAMERA MOVEMENT) that follows a bus into a shabby suburban housing estate (MISE-EN-SCENE -LOCATION). Comedy. In the beginning of the film, Ricci is called upon because he has been selected for a government job. A pivotal moment in Antonio’s descent arrives when he comes to the decision to steal the bicycle.