Directed by Vittorio De Sica
Written By Cesare Zavattini
Cinematography Carlo Montuori
Edited by Eraldo Da Roma
Music by Alessandro Ciccognini
Starring Lamberto Maggiorani and Enzo Staiola
Bicycle Thieves has become so iconic a film that it its reputation soars far higher than any other film made during what generally is called the "Italian Neo-realist" film movement. The neo-realist movement, which lasted roughly from the mid 40s to the early 50s, was a direct response to the devastation caused by World War II in Italy. The movement, which roughly began with Rossellini's Rome, Open City, is generally considered to have reached its artistic zenith with De Sica's 1948 masterpiece.
While umpteen films were made under the tag "neo-realist", only a handful of films have the worldwide acclaim as of now, and of the few that have, De Sica's film remains the most cherished by audiences. One could attribute this to the film's universality. While Rossellini's war trilogy was essentially Euro-centric, Bicycle Thieves, with its searingly simple premise of a man in search of his lost bicycle, made for a theme which anyone anywhere could relate to.
Like most art movements, what made neo-realism a landmark movement in the history of cinema was the distinctive aesthetic it introduced. No longer able to afford shooting within the confines of a studio or with bankable stars, filmmakers had to take their cameras out into the streets, filming with whatever light was available, and by using non-professional actors without make-up. As a result, cinema finally seemed to be shorn of all artifice, and viewers were confronted with bare reality presented to them, without the interference of any manipulation by the studio system.
There were films before the emergence of neo-realism that challenged conventional methods of filmmaking, like the Expressionist cinema of 1920s Germany, the Impressionist cinema in France of around the same period, and the Surrealist movement, but they occasionally used professional actors and studios. Films that veer close to the neo-realist aesthetic of that period would be Flaherty's Nanook of the North, which was shot on location without using professional actors, and Renoir's Toni in the 30s, which would similarly make use of non-actors. But these were individual efforts, and it hadn't yet been proved to the world that an entire cinema industry could make films that way. That would happen only after 1945. Films like Rossellini's War Trilogy and Bicycle Thieves proved that you could make a great film with only a camera and an inquisitive mind.
Yet it would be unfair to credit Bicycle Thieves as the product of one mind. For one, its plot was based loosely on a novella of the same name by Luigi Bartolini, which was turned into a screenplay by Cesare Zavattini, who wrote a great number of films during that period. Later, he would often fume at the fact that credit for the film's greatness went entirely to De Sica, and went so far as to claim that 90 percent of the film was his own creation. While you could credit the writer with his brilliant social observation in the film, since Zavattini himself claimed that he no involvement in the production, you could not overlook De Sica's contribution to the final work, especially in his mise-en-scene and the way he has evoked brilliant performances from a largely unknown cast of non-professional actors.
In its spare use of camera movements, montage and largely medium to long-shot framing, Bicycle Thieves has a stylistic austerity that is reminiscent of a Chaplin film. Even in its worldview, that of a dog-eat-dog world, it is not unlike the themes that pervade Chaplin's work. But it avoids the poetry, gracefulness, and the optimism of the Tramp, to present a more harsher, more fatalistic view of the world.
Upon release and international acclaim, Bicycle Thieves influenced several filmmaking countries of the time, notably in India, which had just emerged from colonial rule. The immediate influence of the film could be seen in films like Bimal Roy's Do Bigha Zamin and Raj Kapoor's Boot Polish, while a hitherto unknown Satyajit Ray borrowed the neo-realist aesthetic to scale poetic heights in his debut feature Pather Panchali.
Written By Cesare Zavattini
Cinematography Carlo Montuori
Edited by Eraldo Da Roma
Music by Alessandro Ciccognini
Starring Lamberto Maggiorani and Enzo Staiola
Bicycle Thieves has become so iconic a film that it its reputation soars far higher than any other film made during what generally is called the "Italian Neo-realist" film movement. The neo-realist movement, which lasted roughly from the mid 40s to the early 50s, was a direct response to the devastation caused by World War II in Italy. The movement, which roughly began with Rossellini's Rome, Open City, is generally considered to have reached its artistic zenith with De Sica's 1948 masterpiece.
While umpteen films were made under the tag "neo-realist", only a handful of films have the worldwide acclaim as of now, and of the few that have, De Sica's film remains the most cherished by audiences. One could attribute this to the film's universality. While Rossellini's war trilogy was essentially Euro-centric, Bicycle Thieves, with its searingly simple premise of a man in search of his lost bicycle, made for a theme which anyone anywhere could relate to.
Like most art movements, what made neo-realism a landmark movement in the history of cinema was the distinctive aesthetic it introduced. No longer able to afford shooting within the confines of a studio or with bankable stars, filmmakers had to take their cameras out into the streets, filming with whatever light was available, and by using non-professional actors without make-up. As a result, cinema finally seemed to be shorn of all artifice, and viewers were confronted with bare reality presented to them, without the interference of any manipulation by the studio system.
There were films before the emergence of neo-realism that challenged conventional methods of filmmaking, like the Expressionist cinema of 1920s Germany, the Impressionist cinema in France of around the same period, and the Surrealist movement, but they occasionally used professional actors and studios. Films that veer close to the neo-realist aesthetic of that period would be Flaherty's Nanook of the North, which was shot on location without using professional actors, and Renoir's Toni in the 30s, which would similarly make use of non-actors. But these were individual efforts, and it hadn't yet been proved to the world that an entire cinema industry could make films that way. That would happen only after 1945. Films like Rossellini's War Trilogy and Bicycle Thieves proved that you could make a great film with only a camera and an inquisitive mind.
Yet it would be unfair to credit Bicycle Thieves as the product of one mind. For one, its plot was based loosely on a novella of the same name by Luigi Bartolini, which was turned into a screenplay by Cesare Zavattini, who wrote a great number of films during that period. Later, he would often fume at the fact that credit for the film's greatness went entirely to De Sica, and went so far as to claim that 90 percent of the film was his own creation. While you could credit the writer with his brilliant social observation in the film, since Zavattini himself claimed that he no involvement in the production, you could not overlook De Sica's contribution to the final work, especially in his mise-en-scene and the way he has evoked brilliant performances from a largely unknown cast of non-professional actors.
In its spare use of camera movements, montage and largely medium to long-shot framing, Bicycle Thieves has a stylistic austerity that is reminiscent of a Chaplin film. Even in its worldview, that of a dog-eat-dog world, it is not unlike the themes that pervade Chaplin's work. But it avoids the poetry, gracefulness, and the optimism of the Tramp, to present a more harsher, more fatalistic view of the world.
Upon release and international acclaim, Bicycle Thieves influenced several filmmaking countries of the time, notably in India, which had just emerged from colonial rule. The immediate influence of the film could be seen in films like Bimal Roy's Do Bigha Zamin and Raj Kapoor's Boot Polish, while a hitherto unknown Satyajit Ray borrowed the neo-realist aesthetic to scale poetic heights in his debut feature Pather Panchali.
