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Bicycle Theif

Bicycle Theif

Another fine example of neorealism is The Bicycle Thief (1948), written by Cesare Zavattini and directed by Vittorio De Sica.  The narrative of this film unfolds in post-W.W.II times.  The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect.  It is a time of  struggle for the Italian people, amplified by a shortage of employment and lack of social services.    In the first scenes of the film, these conditions are evident as Antonio Ricci (Lamberto Maggiorami) meets his spouse Maria (Lianalla Carell) on his way back home.  We see the “men” arguing at the employment “office” as the “women” argue about the shortage of water.  Although the director’s pessimism drives the plot, it is ultimately the clash with human optimism which gives this film affective power.

Antonio’s new job can bring his family new hopes and happiness, which are drastically destroyed when his bicycle is stolen.  The banal circumstances are brought to life when it is realized that a modest bicycle is such an important element in determining the future survival of the Ricci family.  Human optimism is there, beginning with Antonio’s

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