Le Voleur de bicyclette

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")

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

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++

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

....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.