Ladri di Biciclette is the most famous example of 'neo-realism', a style associated with a handful of Italian films made between 1945 and 1952. The title was translated as The Bicycle Thief in America, where the film was an immediate critical sensation. It won a special Oscar for Best Foreign Film, years before the Academy had permanently established the category.

It was also nominated for its screenplay, an unusual accomplishment for a foreign language film during any era. Other awards bestowed upon The Bicycle Thief were a Golden Globe for Best Foreign Film and a British Academy Award for Best Picture. The film still shows up on the occasional list of all-time best films, although its style has long been out of favor.

The cornerstone of 'neo-realism' was authenticity. This was obtained through several important techniques. The cast, from lead to extras, was amateur. The filming was on location, rather than on a studio back lot. The stories were realistic, and reflected the lives of ordinary people.

Director Vittorio De Sica was most closely identified with the genre. He demonstrated that professional actors could be superfluous, as amateurs who 'looked' the part could be coached to fulfill the role.

However, the problem wasn't one of acting ability, but of marketing. Known actors are a draw. Mission Impossible 2 wouldn't have grossed two hundred million dollars with an unknown in the lead instead of Tom Cruise. And it wouldn't have been made (much less heavily promoted) by Hollywood without its escapist story. The truth is, most people won't pay to see a downbeat story about the hardships of everyday life.

To a lesser extent, the same can be said of film critics. This year, Gladiator and Crouching Tiger, Hidden Dragon are all the rage. Both films feature spectacular gymnastics and special effects. Erin Brockovich has received less attention, and then largely as an acting vehicle for Julia Roberts or Albert Finney.

The Bicycle Thief can be a difficult film to get through, because it is so cheerless. We see a man lose first his livelihood, then his dignity, then (almost) his freedom. Hopes are slowly extinguished. Poverty is an oppressive, irresistible force that has swept across Italy like a plague.

Misery may not love company, but it tries to protect its own. Even when our protagonist manages to find the thief who stole his bicycle, as well as the likely fence, he cannot find justice or compensation. The criminals are as poor as he is, and in their poverty they find sympathy from others who are equally desperate.

About the only optimistic conclusion that can be drawn from the film comes from the strength of family ties. The bond between father and son isn't broken, despite the failures of the father witnessed by the child. The boy, wise beyond his years, knows that the true failure is that of society.

The Bicycle Thief is not a perfect film. The problem, again, is not with the amateur cast, who redeem themselves well. But the direction makes the principal characters exceptionally earnest, even naive. The father is surprised when the police are indifferent to his loss, when the 'chopped' bicycle cannot be identified, and when the thief cannot be punished.

The boy never whines or complains, except once when he is slapped. The child really should not be part of the story at all, as a man tramping the town and getting into trouble should not have his son tagging along. Of course, the child, perfect and innocent, is present to increase the sympathy of the audience.

But if The Bicycle Thief is not the great film that it is represented to be, it still shows courage in flaunting the conventions that generally restrict filmmaking. (67/100)

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Recommended:
Yes

Viewing Format: VHS
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children up Ages 8