Thief

The Bicycle Thief movie review (1949)

A
little later, to his astonishment, Ricci spots the bicycle thief, and pursues
him into a brothel. An ugly crowd gathers. A cop arrives, but can do nothing,
because there is no evidence and only Ricci as witness. And then, in the famous
closing sequence of the movie, Ricci is tempted to steal a bicycle himself,
continuing the cycle of theft and poverty.

This
story is so direct it plays more like a parable than a drama. At the time it
was released, it was seen as a Marxist fable (Zavattini was a member of the
Italian communist party). Later, the leftist writer Joel Kanoff criticized the
ending as “sublimely Chaplinesque but insufficiently socially
critical.” David Thomson found the story too contrived, and wrote,
“the more one sees ‘Bicycle Thief,’ the duller the man becomes and the
more poetic and accomplished De Sica’s urban photography seems.”

True,
Ricci

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Bicycle Thieves (Ladri di biciclette) (The Bicycle Thief) (1949)

This landmark Italian neorealist drama became one of the best-known and most widely acclaimed European movies, including a special Academy Award as “most outstanding foreign film” seven years before that Oscar category existed. Written primarily by neorealist pioneer Cesare Zavattini and directed by Vittorio DeSica, also one of the movement’s main forces, the movie featured all the hallmarks of the neorealist style: a simple story about the lives of ordinary people, outdoor shooting and lighting, non-actors mixed together with actors, and a focus on social problems in the aftermath of World War II. Lamberto Maggiorani plays Antonio, an unemployed man who finds a coveted job that requires a bicycle. When it is stolen on his first day of work, Antonio and his young son Bruno (Enzo Staiola) begin a frantic search, learning valuable lessons along the way. The movie focuses on both the relationship between the father and the son

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