Neorealism In Bicycle Thieves. Cannes Classics delves back into what is now considered to be one of the best films in the history of cinema: Ladri di bicyclette (Bicycle Thieves) by Vittorio De Sica. Vittorio De Sica was the director of The Bicycle Thieves and his films and the style used on them led to the Italian Neorealist movement together Roberto Rossellini's film; Rome: Open City, which gave a new measure of realism to cinema (Snyder and Howard 139). An example of Italian neorealism at its finest, this feature-length film received an Academy Award in 1949, and is Woody Allen's all-time favourite. In this essay I will identify and analyse the dominant stylistic approach of the film Bicycle Thieves, as well as its effect on the audience and the overall importance of realism in film as a representation of reality. Realism- Formalism assessment: The Bicycle Thieves/ Italian Neo-realism. The Bicycle Thief as a Prominent Neorealism Work. The social class difference was an all time high and neorealism had become far more noticed by the people. Bicycle Thieves Adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves is one of the masterpieces of Italian neorealism. Bicycle Thieves is the best-known work of Italian neorealism, the movement (begun by Roberto Rossellini’s 1945 Rome, Open City) which attempted to give cinema a new degree of realism. Neorealism is an extremely influential cinematic style, that appeared in Italy during the Second World War, and which is mainly associated with the depiction of truth, deeply human content and overall ‘realistic’ films. With the introduction of neorealist films Bicycle Thieves and Rome Open City, society becomes acquainted with the richness of everyday life in Italy. Antonio, a family man, is desperately looking for a job, like many other men. Early on in Andre Bazin’s article, “Bicycle Thief”, he defines some ideas that describe a neorealist film. At the end of World War II, Italy’s government started to fall, which made living there even tougher than it already was. A neorealist film generally has a storyline set within the lower classes, perhaps showing an incident that occurs during the daily life of a worker. Neorealism In The Film 'Bicycle Thieves' Neorealism In The Film 'Bicycle Thieves' 1475 Words 6 Pages. Bicycle Thieves is a 1948 Italian film that follows a poor working-class man named Antonio Ricci. Vittorio De Sica’s 1948 film, Bicycle Thieves, certainly fits that description as the… Antonio lives in Rome in the post-World War II era. Bicycle Thieves: The Unspoken Allure of Communism Bicycle Thieves is an exemplary demonstration of Italian neorealism that seeks to use non-professional actors to illustrate the struggle of average people surviving under a Fascist government. The Bicycle Thief (1948) was made when the economy of Italy was slowly beginning to improve, and the neorealist movement was starting to fade. De Sica’s Bicycle Thieves demonstrates a pure vision of neorealism, making each event as objective as possible, reinforcing the meaningfulness of reality, and reproducing it at exceptional degrees. Thus, the film combined the most significant aspects of neorealism, depicting the poverty of Italy. One of the masterpieces of Italian Neorealism is Vittorio De Sica’s Bicycle Thieves (1948), a film whose raw verisimilitude throughly embodies the…

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