Le Voleur de bicyclette

In post-World War II Italy poverty is a dire reality for a large portion of the population. Work is scarce and the opportunities for employment are few and far between. "Ladri Di Biciclette" (translated "The Bicycle Thief") is quietly one of the finest films ever produced. It follows one economically distraught man (Lamberto Maggiorani) who is heading down a desperate path fast. Things look up when he gets a job putting posters on walls in town, but he must sell what few meager possessions he and his family have to buy a bicycle to uphold his end of the business bargain. Naturally tragedy strikes immediately as the title character shows up the very first day Maggiorani is on the job. The police are little help, believing the bicycle is not as important as it really is. Thus Maggiorani and young son Enzo Staiola take it upon themselves to look all over town to try and find the bicycle and bring the thief to justice. "The Bicycle Thief" was originally released in 1948 and won an Honorary Academy Award for Best Foreign Language film the following year (the movie was not released in the U.S. until 1949). It is still a production that strikes deep even today. The lengths and desperate measures that some go through is very evident here. Director Vittorio De Sica crafts a film that is much deeper than it appears on the surface. It examines the human condition and questions society, family, law enforcement, alliances and mental anguish perfectly. "The Bicycle Thief" is an excellent production that has aged well and allows the viewer to think about many subjects that go beyond ordinary cinematic depths. 5 stars out of 5.

....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.

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

There's not much that can be said about "The Bicycle Thief" that hasn't already been expressed. It is considered a great work of the Italian cinema, and looking at it in its 1999 release version, one can see why.

Structurally, it's a theme and variations, with such a simple, clearly stated main motif that one can identify and follow its mutations with no effort. DeSica is clearly the fine craftsman here, directing every scene with a beautiful sense of control and balance.

His work with young Enzo Staiola (as Bruno) is especially commendable, and he allows then nonprofessionals Lamberto Maggiorani (as Antonio) and Lianella Carell (as Marie) to act in a model of naturalism.

Carlo Montuori's photography is brilliant, and Antonio Traverso's production design is pungent and atmospheric. Like most "masterpieces," a film-classic score provides emotional depth in a subliminal way: here it's a romantic, Italianesque original composition by Aessandro Cicognini wraps up the entire production.

DeSica's career is most impressive, being involved in nealy 200 films, 165 of them as an actor. This film remains one of his greatest achievements. It seems to be standing the test of time very nicely, too. It's been criticized, sometimes quite severely, and just continues to bounce back, winning new admirers with each reissue. The public just won't let "The Bicycle Thief" fade away. That alone tends to override any negative factors. It looks like this film is going to be around for quite a while. ###

THE BICYCLE THIEVES is an Italian "Neo-realist" film--so called because it used real people in rather ordinary situations. Some see these as anti-Hollywood but the actual reason for them was that after the war, the Italian film industry was in ruin and they were practically broke, so making these simple films about simple people was a natural outgrowth, though some of the groundwork for this style began during the war.

The story itself is about a poor man who is out of work but is finally able to secure a job using his bicycle. The problem is that soon after starting back to work, the bike is stolen so he spends the rest of the film searching for the bike (sort of like PEEWEE'S GREAT ADVENTURE, but not a comedy). Later in the film, the focus is not just on the bike but on the relationship between the man and his young son. There really is nothing more to this very simple plot, but it is a fascinating time capsule into the desperate state of Italy until its rebirth in the mid-1950s.

The fact that THE BICYCLE THIEVES is so well known and respected is a testament to the fact that many "in the know" aren't really that smart after all. What they actually didn't realize is that the director (DeSica) did several other films that were at least as good, if not better. I have heard and read much fawning praise for this film while at the same time wondering how these critics can discuss THE BICYCLE THIEVES without mentioning his other great works. It wasn't like THE BICYCLE THIEVES was his one crowning achievement as director--it's just that this one was discovered abroad and by the Oscar people (AMPAS). I challenge you to watch MIRACLE IN MILAN, UMBERTO D or especially THE CHILDREN ARE WATCHING US and then tell me that THE BICYCLE THIEVES is THE great masterpiece. These films (particularly THE CHILDREN ARE WATCHING US) have a great depth of emotion that THE BICYCLE THIEVES lacks and the connection to the audience is greater (provided you ever see these other films).

I am not cursing THE BICYCLE THIEVES--it is a very good and simple film. But as far as its being a "masterpiece", I just think it's a bit overrated. Before marking this review "not helpful", please first have integrity and see these other films to see what I mean--they are indeed great films and DeSica was an amazing director.