Vittorio De Sica’s The Bicycle Thieves is a simple story set amidst a post-war Rome. It is a neorealist film characterized by setting the story amongst the poor and working class. The film surrounds the difficult economical and moral conditions of post WWII Italy‚ reflecting the conditions of everyday life: Poverty and desperation‚ with the implicit message that in a better society‚ wealth would be more evenly distributed. The plot is simple‚ surrounding a man‚ his son and a bicycle. The film tells a
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’The Bicycle Thieves’ is simple story set against the backdrop of post-war‚ poverty stricken Italy. It focuses on the story of a man‚ Antonio‚ searching for his bike that was stolen from him with his son Bruno. Although the story seemingly is focused on one man and his son‚ it depicts the struggles of many others throughout the film. Morality also plays large role in The Bicycle Thieves. The viewer understands that it was wrong for the their to steal the bicycle from Antonio‚ but after seeing
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The Bicycle Thief The socio-political statement in the film‚ The Bicycle Thief‚ is the story that the director chooses shows the desperateness of everyday life. It is a constant struggle of the haves and the have-nots. Those who are the lower or the middle class‚ always want more and there always is hope that something better will come along their way. Through the character of Antonio‚ we see the hope for better things to come and that one day he will not have to struggle. It is that hope that
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Flim 2700-Dr. Zhang Screening Report-The Bicycle Thieves (1948) Spring 2013 At the end of World War II‚ in 1945‚ Italy found itself defeated‚ war ravaged and in great economic turmoil. Italy‚ the once romantic agricultural Mediterranean gem was attempting to recover from Nazi occupation and reindustrialize. Fascist leader‚ Benito Mussolini‚ believed cinema‚ to be the most powerful weapon; “Il cinema è l ’arma più forte" he constructed the Cinecittà. It became Europe’s largest film studio‚
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Bicycle Thieves (1948) and Pickpocket (1959) are two films revolve around the morality of theft. Both director Vittorio De Sica’s Bicycle Thieves and Robert Bresson’s Pickpocket tell tell a similar story‚ and wonderfully use perspective and camera movements to tell them. Bicycle Thieves follows Antonio Ricci (Lamberto Maggiorani) as he struggles to provide for his wife Maria (Lianella Carell) and his son Bruno (Enzo Staiola). Antonio gets a job‚ but needs a bicycle in order to fulfill his employment
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THE BICYCLE THIEF / BICYCLE THIEVES Ladri di Biciclette A Vittorio De Sica production for PDS (Stabilimenti Safa) / 1948 (U.S. release by Moyer-Burstyn‚ Inc.: 1949) SYNOPSIS The main protagonist Antonio having been unemployed for two years‚ is offered a job applying posters around the city of Rome. A job where owning a bike is mandatory. Shortly after starting his new job‚ Antonio’s bike is stolen. Antonio and his son Bruno‚ with the assistance of a some acquaintances‚ spend the entire
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Post‐World War II in Italy birthed a lot of films that supported this national movement. This essay aims to explore the themes and the mis‐en‐scene of the film “The Bicycle Thief” by Vittorio De Sica and how it serves as an unforgettable representative of the neorealism genre. With regards to it’s mise‐en‐scene‚ “The Bicycle Thief” represented every aspect of the movement‚ from casting non‐actors for the main roles‚ filming on‐ location in run‐down cities and having characters that are expressing oppression
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The Bicycle Thief The Bicycle Thief is probably the best known and most highly praised of all the Italian Neorealist films of its era. The films of the Neorealist movement were characterized by several primary ideas. Instead of featuring stories focusing on glitz and glamour‚ Neorealist films focused on the poor and the working class. Instead of building and fabricating complex sets to film on‚ they did their filming on location. And instead of trying to get the most well known‚ highly paid celebrity
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A Man‚ a Bicycle‚ and His Family Roger Ebert proclaims that after watching the movie‚ The Bicycle Thief‚ many years later it still has strength and freshness. Godfrey Cheshire said that it had “brilliant conviction”. These two critics seem to have something in common. They both loved and see brilliance in a movie that is standing the test of time. Neorealism is a genre that a viewer should not expect a happy ending for. It is just what it is‚ real. Both critics shed important insight into
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"The Bicycle Thief" is a deeply moving neo-realist study of post-War Italy which depicts one man’s loss of faith and his struggle to maintain personal dignity in poverty and bureaucratic indifference. Antonio Ricci is a bill-poster whose bicycle‚ essential for his job‚ is stolen by a thief. Joined by his son Bruno‚ Antonio vainly searches for his bike‚ eventually resorting to the humiliation of theft himself. Throughout this paper‚ I will attempt to trace the character through
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