The Bicycle Thief

Another good example of neo-realism is The Bicycle Thief (1948) written by Cesare Zavattini and directed by Vittorio De Sica. The story of this movie started in Post W. W. II era. This movie is a portrait of Italian weak people (most people) seeking self esteem after the war. For Italians this is an era of struggle due to the low unemployment rate and the lack of social services. In the first scene of the movie, these conditions were revealed on the way Antonio Ricci (Lamberto Maggiorami) came home with his spouse Maria (Lianalla Carell).

It is a good idea to keep in mind the words "new realism of Italy" and "thief of bicycle". The bicycle thief is a fully original portrayal of Italian pain after the war, full of hope and helpless juxtaposition. This is frustrating situation that the audience wants to help, but I can only express sympathy for Antonio and Bruno. I might have been biased when I chose James Stewart to play a photographer's movie, but in any case the back window must be one of Hitchcock's greatest movies . This is the ability of him to tell a horror story to a room. He uses a variety of techniques, such as angle of view and meticulous obstruction by Jeffries' camera, creating a feeling of depth and collapsing the space in the courtyard. Must see who thinks it is a movie fan

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 functions of neo-realism include location shooting and use of 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

With a bicycle thief, Zavattini and De Sica are trying to raise new tragedies from everyday life. If classic tragedy tends to focus on the depravity of a great man, then with "bicycle thief" it is an ordinary depraved person; the choice of Antonio Ritchie's fate causes him to lose the kingdom I will lose his dignity though. Although the script is a theater, it is held on weekends, maintaining a strict time system, and at the same time it is carefully constructed accumulating meaningful details. For example, because Ricci's bicycle production is "Fides" it is related to religious themes under the surface of the story. The plot of classical tragedy usually develops around the result of the selection of tragic heroes, but here we examine all the situations that make up the hero's choice. In this respect, the bicycle thief is one of the most important works of art of the 20th century.