Director Vittorio De Sica was a
prominent member of Italy’s neo-realist film movement, of which his work Bicycle Thieves is an equally prominent example.
Stay with me here – don’t freak out. I’m not going to go all Arts Student on
you. The Italian neo-realists basically tried to show the working man’s plight
in 1940s Italy through film. These movies were usually shot on location (e.g.
the streets) and cast with non-actors (so that fame/glamour wasn’t a key
feature). If you haven’t seen this film, just imagine a down-and-out father and
son traversing poverty-stricken Rome and you’re there.
The
plot runs thus: father Antonio Ricci finally
gets a job, but he needs a bicycle. His wife sells their wedding linen to buy
back their pawned bicycle, but it’s stolen on his first day. For the remainder
of the film we follow Ricci and his son Bruno as they attempt to retrieve this
symbol of all their hopes. Although we learn little of their background, their
story seems woefully common as they are frequently lost in the crowds, their
individual cares overwhelmed by the masses.
The
choice to cast non-actors gives this film an air of authenticity, not that I’d
have recognised a famous Italian actor of the 1940s anyway though. Still, a
trained and ambitious actor would have his own agenda, which always shows
through a performance. It’s more that the cast seem to take ownership of their individual
characters and their struggles; these scenes are familiar to them, perhaps. For
my brother and I (he being my challenge assistant for this instalment), the
stand out performance was from Bruno, the son. Throughout the film, he looks up
at his father for support and guidance, but more and more he realises that Ricci
is a defeated man. His expressions are crushingly emotive. Yes, I cried. It
would take a heart of stone not to be moved by this film. But, I assure you, it
was restrained and dignified crying.
I
suppose that is how Bicycle Thieves
is best described: as restrained and dignified. Nowhere is their absurdity, and
the main characters, while desperate, unfailingly maintain their humanity.
Ricci’s morals lapse once, in the climactic scene near the close, but at no
point is our compassion for him weakened. Rather, in standing beside Bruno and
watching this man break his principles in sheer desperation, our sympathy for
him strengthens as our hearts break.
This
all sounds rather emotional, and it is. This is what primarily moves the film
along, as the plot itself is simple. It is the relationship between father and
son, and our increasing realisation of the hopelessness of their situation which
sees us through to the end. You might be thinking, ‘Gee, this sounds too much
to cope with’, but I implore you to get hold of Bicycle Thieves. It is for the emotional
experience that I recommend this film to you.
Sam's Summary (which comes with a quasi-spoiler): 'Films don't often end with such despair anymore'.
Sam's Summary (which comes with a quasi-spoiler): 'Films don't often end with such despair anymore'.
