The Bicycle Thief (1948)

Set in Rome's post-World War II depression, The Bicycle Thief is the story of Antonio Ricci, a man employed to hang posters. Ricci is entirely dependent on his bicycle for his work, for it is a condition of his employment. Antonio on a couple of occasions leaves his bicycle unattended, and there are long camera pauses to suggest that, as the title of the movie would portend, the bicycle will be stolen - it is only a matter of time.

During his first job, Antonio's bicycle is stolen, and this unfortunate incident causes Antonio, his young son Bruno, and others to search for his missing bike.

The environment of the depression is so starkly represented when Maria, Antonio's wife, sells their bed sheets, part of Maria's dowry, to purchase Antonio's bicycle from the pawn shop. The return of his bicycle was Antonio's one hope to help feed his family, but now it has been stolen, and he cannot continue to hang posters without his bicycle. When Maria sells her sheets, we see the clerk pile them with the hundreds of other sheets that have been sold to help support other affected families.

Affluence residing alongside poverty is represented by the poster of Rita Hayworth that Antonio hangs. Another example of this coexistence of poverty and wealth is shown when Bruno and Antonio decide to have a meal after giving up all hope that they will find the stolen bicycle. Bruno sees in the restaurant a wealthy family eating extravagantly without thought. He understands that this is not his plot in life, but for the moment, he too will enjoy extravagance, even if this may be his last meal.

The overarching tone of this movie is one of desperation. Antonio is desperate to find his bicycle and we see him resort to things that he might not be very proud of and consider doing under ordinary circumstances.

Faith plays a major role in this film. Maria, Antonio's wife, goes to a fortune teller. She represents the faith of the movie. She understands that Antonio will find another job despite losing his last one, but Antonio fails to return home, at least from what we see, to gain this perspective. He is the doubter. He is so desperate that he talks during church service when trying to convince an old man to tell him where the person is who stole his bicycle. He plans to force the old man against his will to come with him to find the man. He has no consciousness of decorum in a church; he is without faith.

The real faith of this movie is in humanity. The neorealism of the film calls into question whether we as humans will act ethically in dire situations.

Director: Vittorio De Sica
Writer: Cesare Zavattini
Cast: Lamberto Maggiorani (Antonio Ricci); Lianella Carell (Maria Ricci); and Enzo Staiola (Bruno Ricci)

Point to consider: ALLMOVIE.COM points out that "the movie featured all the hallmarks of the neorealist style: a simple story about the lives of ordinary people, outdoor shooting and lighting, non-actors mixed together with actors, and a focus on social problems in the aftermath of World War II."