Lamberto Maggiorani

Films from this ‘golden era of Italian cinema’ predominately featured non-actors filmed in natural settings, with the stories focused on the plight of the poor, the changing political environment and how to rediscover / recover their national identity. Where I once saw sentimentality, I now see understatement and an admirably tough, clear-eyed treatment of human aspiration and frailty, superstition and desolation.

It’s “Bicycle Thieves” (“Ladri di Biciclette” in Italian) not only because more than one bike is stolen, but also because the cruelty of modern life threatens to make robbers of us all. Why You Should Still Care About ‘Bicycle Thieves’. Act of Violence — Eric RodriguezArsenic and Old Lace — Gisela WehrlBicycle Thieves — Megaen KellyBrief Encounter — Emily BonkoskiCasablanca — Paul GraunkeDouble Indemnity — Susan WinchellFive Graves to Cairo — Jeff GibsonForeign Correspondent — Doc KaneHere Comes Mr. Jordan — Wayne KlineHis Girl Friday — John HendersonIt’s a Wonderful Life — David LaudenslagerKey Largo — Will KingLaura — Melinda Mahaffey IcdenLes enfants du paradis — Brendan Howley Mrs. Miniver — Traci Nell PetersonNotorious — Christine HentonNow Voyager — Melissa PrivetteOut of the Past — Brantley AufillRope — Lance MorganThe Bank Dick — Bob SaenzThe Best Years of Their Lives — Shaun ParkerThe Big Sleep — Ipsita BarikThe Ghost and Mrs. Muir — Annie WoodThe Long Voyage Home — Vincent MartiniThe Lost Weekend — Liz WarnerThe Maltese Falcon — Roy GordonThe Ox-Bow Incident — Clay MitchellThe Philadelphia Story — Kristen DemalineThe Sin of Harold Diddlebock — David JoynerThe Third Man — Harry CookeTo Have and Have Not — Felicity Flesher. These are fair questions to ask of any consensus masterpiece — skepticism is what keeps art alive, reverence embalms it — and especially apt in the case of “Bicycle Thieves.” The movie is about seeing and caring, about the danger of being distracted from what matters. Keys to the Screenwriting Craft: Think Concepts, The Path of Least Resistance to Get Representation in Hollywood, Writing a Logline for a Character Driven Drama. Where I once saw sentimentality, I now see understatement and an admirably tough, clear-eyed treatment of human aspiration and frailty, superstition and desolation. Leading Italian filmmaker De Sica — who would go on to win many major international awards over the course of his career including many for Bicycle Thieves — chose a simple plot so that the film could focus on the characters in the story. One of these poor — Antonio Ricci — is about to have his life changed. Vittorio De Sica with another star of Italian cinema, Sophia Loren. Explore the Vittorio De Sica season at BFI Southbank. He needs a bicycle, and Maria pawns the couple’s bed linens — one set has never been used — so her husband can get his trusty Fides out of hock. , Lianella Carell, Born: 7 July 1901, Sora, FrosinoneDied: 15 November 1974, Neuilly-sur-Seine. Revisiting and reassessing on a fairly regular basis is crucial to what I do. In discussing the season in a column in Time Out, the magazine for which I then used to write, I admitted that I’d only seen the light with regard to the Finnish filmmaker only very recently; that I simply hadn’t cottoned on properly to what he was doing when I first encountered his work.

(The Venice Film Festival was another.) Bicycle Thieves is in cinemas from 14 August 2015. The English title has since been adjusted to reflect the original. Neorealism as a film movement only lasted for a dozen years or so, but the impact of the films made in this style has been profound in world cinema through the many decades since. Vittorio De Sica's 1948 neo-realist masterpiece, Bicycle Thieves(Ladri di biciclette) was one of the movie, which had a huge inspiration over directors like Jean-Luc Goddard, Satyajit Ray.

Just like all things social/cultural in nature, cinema after WWII was changed forever. For all of the 40s movies featured in the series, go here. Mature beyond his years — he is the actual bread winner in the family — Bruno emotionally, physically and most importantly morally supports his father. But when I look back at some of my earlier writings on De Sica, I now feel I was perhaps a little grudging in paying my respects to such landmarks of neorealism as Shoeshine (1946) and Umberto D (1952); I virtually equated his use of children in certain films with a tendency towards sentimentality, and I didn’t get Miracle in Milan (1951) at all, even going so far to describe it as “cloying whimsical fantasy”.

Different nationalities developed their own strongly unique film forms at this time, from the dark, cynical Film Noir of American cinema to the gritty, painful reality of Italian Neorealism. Anna Magnani had won for best actress in 1956. Instead, I will let you see a non-narrated trailer for the film which gives an idea of what to expect: After Antonio has slapped Bruno, he tries to console the boy but the youngster is having none of it. After beseeching his son to forgive him Bruno says: Key Things You Should Look For When Watching This Movie. It shows everything and doesn’t need to explain anything, and so does away with the false choice between escapism and engagement. The struggle for survival doesn’t exclude the pursuit of pleasure. Neorealism was partly an aesthetic of necessity. Those who I put in bold have already sent me their posts. Why should you (still) care? On his first day at work, Antonio’s bicycle is snatched from under his nose, and he and his young son, Bruno, spend the rest of the movie in a desperate effort to recover it.

Fellini’s “La Strada” and “Nights of Cabiria” won back-to-back foreign-language film Oscars in 1957 and ’58. I write this by way of preface to a brief discussion of Vittorio De Sica, whose work as a director and actor we are currently celebrating at BFI Southbank. Later, Antonio and Bruno will cross paths with itinerant musicians, a fortuneteller, and a young man blowing bubbles in an open-air bicycle market. I prefer to think of neorealism as an impulse, an ethos, a spore that caught the wind of history and sprouted in the soil of every continent. Lines of things, both horizontally and vertically, are used to great effect. Movie Title: Bicycle Thieves (released in the US as The Bicycle Thief), Writer: Screenplay by Cesare Zavattini, based on a novel by Luigi Bartolini, Lead Actors: Lamberto Maggiorani, Enzo Staiola, Lianella Carell, and Vittorio Antonucci. ©2020 British Film Institute. By the end, we have witnessed a humble man’s humiliation, a loss of dignity as devastating as an earthquake. I’ve always been fortunate in that I’ve never been required to see all the new releases; moreover, it’s always been a key part of my job – as well as my great pleasure – to explore cinema’s past as well as its present.

And while many child stars love to turn on the cute factor, the young boy Enzo Staiola who plays Bruno does not. Part of what draws filmmakers (and film lovers) to “Bicycle Thieves” is its purity and simplicity, but to emphasize those elements — the unvarnished honesty of the performances, the gritty realness of the Roman streets, the raw emotions of the story — is to risk underestimating its complexity and sophistication. “People should see it — and they should care.” Those are the concluding words to one of the more passionate raves in the annals of New York Times film criticism: Bosley Crowther’s 1949 review of the Italian movie introduced to American audiences as “The Bicycle Thief.”. Antonio and Bruno are often involved in the incident that generates a mob but do not take part as cogs of the mob as it were. The spirits of Maria and Antonio Ricci — and perhaps especially of the impish, vulnerable Bruno — live on in the work of Satyajit Ray in Bengal in the late 1950s, in the Brazilian Cinema Novo in the 1960s, in Iran in the 1990s and the United States in the first decade of this century. More than 70 years after Crowther’s enthusiastic notice — during which time Vittorio De Sica’s fable of desperation has been imitated, satirized, analyzed and taught in schools — I’m tempted to let my predecessor have the last word. And of course there’s really nothing wrong with changing one’s opinion. I’d regarded his particular brand of moody, minimalist miserabilism as some kind of sub-Fassbinder posturing. The first work we see Antonio doing is hanging up a poster of Rita Hayworth, a sign that Hollywood is part of the Italian landscape. Plot summary: In post-WWII Rome lines of the poor are everywhere: at public water pumping stations, bus terminals, and employment agencies. Registered charity 287780. Their pursuit of the purloined bicycle is full of pain and anxiety, but it is also an adventure, with episodes of tenderness and comedy on the way to final heartbreak. Based on a book by Luigi Bartolini, with a script by Cesare Zavattini — written, as Crowther noted, “with the camera exclusively in mind” — “Bicycle Thieves is a political parable and a spiritual fable, at once a hard look at the conditions of the Roman working class after World War II and an inquiry into the state of an individual soul. And in keeping with the true nature of neorealism, there is no happy ending for Antonio and by extension his family. The key to watching this movie is the BOY. But why should you see it, or see it again?

I was not alone in my error. Bicycle Thieves – that classic which so many of us think we know, but which is actually sophisticated enough to reveal fresh and fascinating nuances with repeat viewings – is a case in point.
A less rigorous definition includes countless Italian films released between the end of the war and the mid-1960s, even big-budgeted, movie-star-filled, internationally flavored productions like Federico Fellini’s “La Strada” and Visconti’s “Rocco and His Brothers.” Any Italian movie shot in black-and-white and concerned with the struggles of poor people might qualify. Now, ever since I first saw Bicycle Thieves (1948) about 40 years ago, I’ve recognised both the historical importance and the emotional punch of that particular film – indeed, you can test its enduring appeal for yourselves, since it’s being revived in an extended run to coincide with the retrospective.

Because poverty brought about by the war was so widespread in Rome, De Sica uses images to support this sad reality. And while many other directors may have wanted to win audiences’ hearts with sentimentality, that does not happen in Bicycle Thieves. Their journey takes them (and the viewer) on a tour of Rome’s rougher quarters, away from the monuments and museums. It has been quoted and referenced in countless later movies. Besides, as with any film worth its salt, it’s far, far more than just a story, and De Sica’s marvellously vivid images of evocative faces and cityscapes stick in the mind as indelibly as those of Federico Fellini or Michelangelo Antonioni. Vittorio De Sica’s story of a father and son searching for a stolen bicycle on the streets of Rome is a classic of postwar Italian cinema.
When it was released, Bicycle Thieves was criticized by many Italian film critics, running the gamut of disliking the film because it portrayed Italians in a negative light to the writer of the novel which the film was based on feeling betrayed because the political aspects were ignored.


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