Bicycle Thieves: An Expression of Italian Neo-realism

A bicycle thief is considered an example of Italian neolitism. The plot shows Italian people of the Italian working class and their daily lives. Some may think that they describe the reality and evolve into a final emotional story. Antonio, the protagonist needed a bicycle and offered work stolen on the street on his first day. When you want a happy ending, you will be fascinated by this character soon. When I saw this movie, he became sad automatically. Because he has no money and needs to make a living for his wife who has two children.

As often noted, the original Italian title of Vittorio Desica's "Bicycle Thief" (1948) is Ladri di biciclette, or "bicycle thief", which indicates that there are multiple thieves in the story It is. This distinction is important as the story was built in a specific social postwar Italian context with the aftermath of economic destruction spreading thieves. Focusing on everyday struggle is not the escape studio product that is beyond the age, Hollywood or Italy, it is the main focus of Italian Neoliburist director who wants to draw reality in a more faithful way . Cinecitta. Other typical features of neo-realism include the use of location photography and non-professional actors. In particular, it is impossible to exaggerate the international influence of the Italian realityist movement and the bicycle thief. (1988) and most modern Iranian films

In the 1940s Sembène admitted to France's Nouvelle Vague and cinémavérité the influence of Neo-realism from Italy, especially Vittorio De Sica's bicycle thief, and Eisenstein in the 1950s. He also uses the verbal story of Africa and uses a kind of folklore such as liars. He considers African artists to be modern fool and a licensed fool poet. "This warrior is a sincere witness and a messenger, the only one who can tell the truth and insult the leader, he is immune to power, sing a hymn and be paid there."