Antonio never recovers his bicycle, and his life continues on a downward spiral. While the film meets many of the characteristics of the Classical Hollywood Narrative, there was one important difference: There was no happy ending in this film. 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. In addition, viewers are taken on an emotional journey, feeling the frustration and desperation of Antonio as his search continues.Īlthough Antonio never achieves his goal, viewers can see how his character went through a process of change. The film progresses in a logical, linear fashion, having no major lapses in time. Antonio’s main goal is to get a job, but it quickly changes into the main plot of the movie: to locate his stolen bicycle so that he can return to work. The film focuses on the main character, Antonio Ricci, and his son, Bruno, throughout. The Bicycle Thief relates to the Classical Hollywood Narrative in many ways. The film clearly contains many elements of the Classical Hollywood Narrative (the ending being an important exception), and it makes excellent use of film form, mise-en-scene, and cinematography to tell the story in a compelling way. The setting of this movie takes place in post-war Rome, where economic struggles are commonplace. The film follows Antonio Ricci, the main character, during his search for his stolen bicycle. “The lessons of Bicycle Thieves stayed with me.The Bicycle Thief, directed by Vittoria De Sica, is a film that reflects Italian neorealism. “MORE RELEVANT, MORE POWERFUL, MAYBE MORE REAL THAN EVER” The restored print a new generation to see how simple, direct, and true it is – ‘what was so special about it.’” The poll is held every ten years by 1962, it was down to a tie for sixth, and then it dropped off the list. Given an honorary Oscar for 1949, routinely voted one of the greatest films of all time, revered as one of the foundation stones of Italian neorealism, it is a simple, powerful film… When the British film magazine Sight & Sound held its first international poll of filmmakers and critics in 1952, it was voted the greatest film of all time. “ The Bicycle Thief is so well entrenched as an official masterpiece that it is startling to visit it again after many years and realize that it is still alive and has strength and freshness. “One of art film's most powerful gateway drugs, still haunting in its painful simplicity, laced with the unforgettable behavioral moments that may be De Sica's greatest claim to posterity.” He transforms the sheer scale of the city and the vast number of residents in similarly desperate straits into A SYMPHONIC LAMENT FOR THE HUMAN CONDITION.” Revealing the catastrophic impact of seemingly minor events on people who are struggling to subsist, De Sica endows slender side business and incidental pictorial details with high suspense and tragic grandeur. “PERHAPS THE QUINTESSENTIAL WORK OF ITALIAN NEOREALISM. Attacked in Italy as being too negative, but still winner of the Italian Best Picture equivalent, New York Film Critics’ prize, and Best Foreign Film Oscar. Ladri di biciclette (1948, De Sica) In a devastated postwar Italy, even a job posting bills for a Rita Hayworth movie looks good to unemployed Lamberto Maggiorani, but when his bike is suddenly stolen, it’s time for him and his little son Enzo Staiola to take a desperate odyssey through Rome’s looming streets.
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