By Robert S. C. Gordon
Bicycle Thieves (Ladri di biciclette) Vittorio de Sica, 1948 is unarguably one of many primary motion pictures within the heritage of cinema. it's also probably the most beguiling, relocating and (apparently) uncomplicated items of narrative cinema ever made. The movie tells the tale of 1 guy and his son, as they seek fruitlessly throughout the streets of Rome for his stolen bicycle; the bicycle which had eventually freed him from the poverty and humiliation of longterm unemployment.
One of a cluster of striking motion pictures to return out of post-war, post-Fascist Italy after 1945 – loosely labelled ‘neo-realist’ – Bicycle Thieves received an Oscar in 1949, crowned the 1st Sight and Sound ballot of the simplest motion pictures of all time in 1952 and has been highly influential all through global cinema ever since. It continues to be an important aspect of reference for any cinematic engagement with the labyrinthine event of the trendy urban, the travails of poverty within the modern global, the advanced bond among fathers and sons, and the skill of the digicam to seize anything just like the essence of all of these.
Robert S. C. Gordon’s BFI movie Classics quantity indicates how Bicycle Thieves is ripe for re-viewing, for rescuing from its worthwhile prestige as a neo-realist ‘classic’. It seems on the film’s drawn-out making plans and creation background, the colourful and riven context during which it used to be made, and the dynamic geography, geometry and sociology of the movie that resulted.