THE BICYCLE THIEVES, MONDAY FEBRUARY 27th, 7:45pm
The Moth Club, Old Trades Hall, Valette St, London E9 6NU
The Bicycle Thieves (Ladri di Biciclette) (1948)
The Bicycle Thieves (Ladri di Biciclette) is an Italian Neorealist film directed by Vittorio De Sica, with the screen play by Cesare Zavattini and shot in 1948. Neorealism, as a term, means many things, but it often refers to films of working class life, set in the culture of poverty, and with the implicit message that in a better society wealth would be more evenly distributed. Set in poverty stricken post-war Rome, the stories of the poor were close to De Sicca’s heart, he himself was born into poverty and only managed to escape through a career as a theatre and then film actor. De Sica’s first films as a director were light comedies like the ones he often worked in. However, maybe due to the harsh realities of World War II, his 1942 film “The Children are Watching,” had mush more depth and sensitivity than his earlier work.
When De Sica was looking for a producer to finance his film, he finally found one, but on condition that the workman was played by Cary Grant. The mere statement of the problem in these terms shows the absurdity of it. Actually, Cary Grant could play that kind of part extremely well, but it is obvious that the question here is not one of playing of a part but of getting away from the very notion of doing any such thing, The worker had to be at once as perfect and as anonymous and as objective as his bicycle.
Creation from limitation
De Sica famously used non-actors, in location. Not one scene shot in a studio. Everything was filmed in the streets. As for the actors, none had the slightest experience in theater or film. The workman came from the Breda factory, the child was found hanging around in the street, the wife was a journalist.
In his journals, Cesare Zavattini writes about how he and De Sica visited a brothel to do research for the film, and later the rooms of the Wise Woman, a psychic, who inspires one of the film’s characters. De Sica hunted for his cast for a long time and selected them for specific characteristics. Natural nobility, that purity of countenance and bearing that the common people have… He hesitated for months between this person and that, took a hundred tests only to decide finally, in a flash and by intuition on the basis of a silhouette suddenly come upon at the bend of a road.
With the disappearance of the concept of the actor into a transparency seemingly as natural as life itself, comes the disappearance of the set. Now De Sica’s film took a long time to prepare, and everything was as minutely planned as for a studio superproduction, which, as a matter of fact, allows for last minute improvisations. Nevertheless, the numbering and titling of shots do not noticeable distinguish Ladri di Biciclette from any ordinary film. But their selection has been made with a view to raising the lucidity of the event to a maximum, while keeping the index of refraction from the style to a minimum.
The long, drawn-out takes add to the feeling of desperation and fear that Antonio faces in his pursuit of finding his bike. Bicycle Thieves can feel like a documentary in it’s subject matter, and though the cinematography is unpretentious it is incredibly beautiful.
Bazin (who is regarded as one of the most important or influential writer on cinema and was a co-founder of the French film review “Cahiers du cinéma”) stated that the film was “pure cinema”; that it tells a simple story composed of “real” events involving “real” people in “real” places. The truth of its extraordinary emotional impact is another element of the story’s purity. The Bicycle Thieves had such an impact on its first release that when the British film magazine Sight & Sound held its first international poll of filmmakers and critics in 1952, it was voted the greatest film of all time.