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"Bicycle Thieves" is the simple story of a poor Italian man, his son and a stolen bicycle. It is one of the finest films I have ever seen. Considered by many to be a masterpiece of Italian neorealism, the movie is bleak, beautiful, sad, joyous, hopeful, moving and sublime.

I was confused when I started searching for this film online, because it is also called "The Bicycle Thief." Both titles refer to the same film. They are merely different translations of the Italian title. "Bicycle Thieves" was adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini. At 69 years old, the film does not seem dated. It is a timeless tale that still feels fresh and relevant today.

One of the earmarks of neorealism is the use of non-actors. Neither Lamberto Maggiorani , who plays the father, nor eight-year-old Enzo Staiola, who portrays his son, were trained actors. Both give magnificent, moving performances. Staiola is irresistible as the little man, trying as hard as he can to keep up with his father as they search the streets of Rome for the bicycle. He has the most expressive eyes, and is able to communicate a full range of emotions with a simple glance up at his father. I felt the deep bond between these two, and the scene where they share a well-earned meal of mozzarella sandwiches is one of the best moments I have seen captured on film.

Shot in black-and-white, the film is lovely looking, with artistic images of the grittier side of Rome. The story is simple, yet compelling. I was completely caught up in the tale, and felt as if I was running alongside the pair, racing against time, trying to help them find the bicycle and a way out of their life of poverty.

"Bicycle Thieves" reminded me a lot of the French film  "The 400 Blows,"  a movie that I adore. I highly recommend these two films. Watch them both. You won't regret it.

 

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2 hours ago, DIShGo said:

"Bicycle Thieves" is the simple story of a poor Italian man, his son and a stolen bicycle. It is one of the finest films I have ever seen. Considered by many to be a masterpiece of Italian neorealism, the movie is bleak, beautiful, sad, joyous, hopeful, moving and sublime.

I was confused when I started searching for this film online, because it is also called "The Bicycle Thief." Both titles refer to the same film. They are merely different translations of the Italian title. "Bicycle Thieves" was adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini. At 69 years old, the film does not seem dated. It is a timeless tale that still feels fresh and relevant today.

One of the earmarks of neorealism is the use of non-actors. Neither Lamberto Maggiorani , who plays the father, nor eight-year-old Enzo Staiola, who portrays his son, were trained actors. Both give magnificent, moving performances. Staiola is irresistible as the little man, trying as hard as he can to keep up with his father as they search the streets of Rome for the bicycle. He has the most expressive eyes, and is able to communicate a full range of emotions with a simple glance up at his father. I felt the deep bond between these two, and the scene where they share a well-earned meal of mozzarella sandwiches is one of the best moments I have seen captured on film.

Shot in black-and-white, the film is lovely looking, with artistic images of the grittier side of Rome. The story is simple, yet compelling. I was completely caught up in the tale, and felt as if I was running alongside the pair, racing against time, trying to help them find the bicycle and a way out of their life of poverty.

"Bicycle Thieves" reminded me a lot of the French film  "The 400 Blows,"  a movie that I adore. I highly recommend these two films. Watch them both. You won't regret it.

DIShGo, DIShGo, DIShGo ...

You view things from the viewpoint of a mother concerned about her son - that's exactly why you equate this with "The 400 Blows."

I view this film from the viewpoint of the father, who has been totally hosed by life.

What, exactly, is "Italian Neorealism" in film, given that this film was from 1948, and the entire medium was only about thirty-years-old at the time? Was there a "Realism" movement that predated that "Neorealism" movement?

I wonder what Haing S. Ngor would think about this?

This is one of the greatest cinematographic moments I've seen (this isn't a "spoiler," because people who haven't seen the film couldn't possibly have an idea of what it's about):

Screenshot 2017-04-29 at 5.37.49 PM.png

It's funny what desperate situations will do to a man, even in front of his son.

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9 minutes ago, DonRocks said:

This is one of the greatest cinematographic moments I've seen (this isn't a "spoiler," because people who haven't seen the film couldn't possibly have an idea of what it's about):

Screenshot 2017-04-29 at 5.37.49 PM.png

It's funny what desperate situations will do to a man, even in front of his son.

Agreed. That scene was incredible for a number of reasons.

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1 hour ago, DonRocks said:

DIShGo, DIShGo, DIShGo ...

You view things from the viewpoint of a mother concerned about her son - that's exactly why you equate this with "The 400 Blows."

What, exactly, is "Italian Neorealism" in film, given that this film was from 1948, and the entire medium was only about thirty-years-old at the time? Was there a "Realism" movement that predated that "Neorealism" movement?

Hmmm. I am sure being a mother concerned about my son colors how I view both films. Still, I see similarities that go beyond that. This article explores how the Italian neorealism movement influenced the new wave film movement in France. Both "Bicycle Thieves" and "The 400 Blows" are about the everyday lives of ordinary people facing terribly difficult, but not at all extraordinary, challenges. Both films have charming child actors who tug at your heartstrings without being sentimental. Both films are beautifully shot in black-and-white, turning everyday scenes of city life into works of art. Neither film has a "happy" ending, yet both films left me with a sense of hope. Both films also show a strong, and sometimes difficult bond, between father and son.

Between the two, I think "The 400 Blows" is the better film. There is certainly more to the story. But for a simple, beautiful tale about the human condition, "Bicycle Thieves" is near the top of my list.

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1 hour ago, DonRocks said:

DIShGo, DIShGo, DIShGo ...

You view things from the viewpoint of a mother concerned about her son - that's exactly why you equate this with "The 400 Blows."

I view this film from the viewpoint of the father, who has been totally hosed by life.

It's funny what desperate situations will do to a man, even in front of his son.

It is Bruno's reaction to his father that tells the story of how desperation is changing the man, more so than any action taken or word spoken by the father in the film. At first, Bruno looks at him adoringly, wanting to be just like him. As the film progresses, his look changes to hurt and confusion. He is seeing the chinks in his father's armor for the first time. The way he looks at his father in the pivotal scene near the end of the film is profound. So much is said about the father and his life's challenges, through Bruno's eyes, without a word of dialogue needed.

I saw an interview with Enzo Staiola as an old man, saying that the director spotted him on the street and wanted him to play the part of Bruno. Thousands of boys auditioned, but the director was set on him. He said he thought it was something about a look in his eyes. I can see that.

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7 hours ago, DIShGo said:

It is Bruno's reaction to his father that tells the story of how desperation is changing the man, more so than any action taken or word spoken by the father in the film. At first, Bruno looks at him adoringly, wanting to be just like him. As the film progresses, his look changes to hurt and confusion. He is seeing the chinks in his father's armor for the first time. The way he looks at his father in the pivotal scene near the end of the film is profound. So much is said about the father and his life's challenges, through Bruno's eyes, without a word of dialogue needed.

If this is your perception, I'd propose that the father didn't change throughout the entire film, and it was the boy who had a "coming-of-age" experience. His father was a good person from start to finish - yes, there was a moment when he realized that "this is the way it must be for everybody" that may have been wrong, but was it really wrong?

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4 hours ago, DonRocks said:

If this is your perception, I'd propose that the father didn't change throughout the entire film, and it was the boy who had a "coming-of-age" experience. His father was a good person from start to finish - yes, there was a moment when he realized that "this is the way it must be for everybody" that may have been wrong, but was it really wrong?

***SPOILERS FOLLOW*** 

Exactly, the father is a very good man from start to finish, and that is why he so desperately wants to find the bicycle so he can take care of his family. There comes a time when every child realizes that his or her parents aren't infallible. Bruno is young for this to be happening, but it is happening. Life's cruel twists have made his father so distraught that he slaps the boy, and doesn't even notice when Bruno is almost hit by a car. These events occur because the father is all consumed with finding the bicycle. That is what he has to do to save his family.

You are right, there is a coming-of-age happening with the boy. At the restaurant, for example, the stress of the day is momentarily relieved. He and his father laugh and eat and enjoy each other's company. But the subject of money comes up, and shots of their meal are juxtaposed with the bowls of pasta being eaten by the wealthier family in the corner. Bruno's boyish expression of delight gives way to one of concern for his father. The father sees this, and tries to lighten the mood again. He wants to let Bruno be a little boy a while longer, but Bruno's perception of the world has changed that day.

The injustices the father faces are felt more strongly by the viewer because Bruno is watching, too. Would the final scene have been nearly as powerful if Bruno had gotten onto the trolley, as his father instructed? 

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