Directed by Vittorio De Sica
87 minutes
Floor 3 Pink Zone 791.4372 LAD
Language: Italian (English subtitles)
If you have ever read Sight & Sound’s greatest films list, released each decade, you would have noticed a regular occurrence of Bicycle Thieves. The film topped in their 1952 Critic’s Poll and placed in the top ten in 1962, 2002, and 2012 polls, and was the top film voted in the top ten in their Director’s Poll (also 2012). So what makes Bicycle Thieves so special?
The film is a stand-out example of Italian neorealism; a genre that focuses on the strains of normal society in post-war Italy. Bicycle Thieves highlights the abject poverty suffered by the Italian population as well as the injustice of a system that sees families sell their few remaining items to businesses brimmed with stock. It is a very real plight, highlighted by the on-location filming and the casting of unknown (but highly talented actors). The emotion of the film is advanced through the score, most noticeably at the film’s end, but this does not take away from the perceived ‘realism’ of the film.
The film follows Antonio Ricci (Lamberto Maggiorani), one of the lucky few to gain employment as a plasterer for poster advertisements (an irony as Antonio unfurls posters of the lavish Rita Hayworth).
His job and income relies on his access to a bicycle; this desperation for a bicycle drives the narrative. Antonio’s young son, Bruno (Enzo Staiola), accompanies him for most of the film. Bruno works as a petrol attendant, he is animated and instantly loveable. Herein is the brilliance of Bicycle Thieves – because of the characters, their struggles, and the neorealist style you quickly develop a strong attachment and empathy for Antonio and Bruno. You feel their desperation and you hope with them for a happy resolve – of which I will not ruin.
A small word of warning must be placed about the DVD’s English Subtitles; they can be sparse at times, missing a lot of the background dialogue, but the main dialogue is covered. If you can get over this (or maybe you can speak Italian) then Bicycle Thieves is worth a watch for its powerful characterisation and for its filming style rarely found in contemporary film.
Why It’s Significant?
Bicycle Thieves is a stand-out example of Italian Neorealism. It is endemic of post-war Italy but the film remains moving today.
If You Like This, You May Also Like From The Library:
Sciuscià, dir. by Vittorio De Sica (Lopert Pictures Corporation, 1946) – An earlier work by the same director of Bicycle Thieves; his first film to receive and Academy Award. (791.4372 SCI)
Mouchette, dir. by Robert Bresson (UGC, 1967) [French] – A tragedy set in rural France, known for its minimalist filming style. (791.4372 MOU)
Written by Phil Wintle
