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Bicycle Thieves (Italian: Ladri di biciclette; sometimes known in the United States as The Bicycle Thief)[5] is a 1948 Italian neorealist drama film directed by Vittorio De Sica.[6] It follows the story of a poor father searching in post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family.

For other uses, see The Bicycle Thief (disambiguation).
Bicycle Thieves
Theatrical release poster
Ladri di biciclette
Directed byVittorio De Sica
Screenplay by
Story byCesare Zavattini
Based onBicycle Thieves
by Luigi Bartolini
Produced by
Starring
CinematographyCarlo Montuori
Edited byEraldo Da Roma
Music byAlessandro Cicognini
Production
company
Produzioni De Sica[2]
Distributed byEnte Nazionale Industrie Cinematografiche
Release date
  • 24 November 1948 (1948-11-24) (Italy)
Running time
89 minutes
CountryItaly
LanguageItalian
Budget$133,000[3]
Box office$428,978[4]

Adapted for the screen by Cesare Zavattini from the 1946 novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves received an Academy Honorary Award (most outstanding foreign language film) in 1950, and in 1952 was deemed the greatest film of all time by Sight & Sound magazine's poll of filmmakers and critics;[7] fifty years later another poll organized by the same magazine ranked it sixth among the greatest-ever films.[8] In the 2012 version of the list the film ranked 33rd among critics and 10th among directors.

The film was also cited by Turner Classic Movies as one of the most influential films in cinema history,[9] and it is considered part of the canon of classic cinema.[10] In 1958, the film was voted number 3 on the prestigious Brussels 12 list at the 1958 World Expo, and number 4 in Empire magazine's "The 100 Best Films of World Cinema" in 2010.[11] It was also included on the Italian Ministry of Cultural Heritage’s 100 films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."[12]


Plot


In the post-World War II Val Melaina neighborhood of Rome, Antonio Ricci (Lamberto Maggiorani) is desperate for work to support his wife Maria (Lianella Carell), his son Bruno (Enzo Staiola) and his small baby. He is offered a job of pasting advertising bills but tells Maria that he cannot accept because the job requires a bicycle. Maria resolutely strips the bed of her dowry bedsheets‍—‌prized possessions for a poor family‍—‌and takes them to the pawn shop, where they bring enough to redeem Antonio's pawned bicycle.

On his first day of work, Antonio is atop a ladder when a young man (Vittorio Antonucci) snatches the bicycle. Antonio gives chase but is thrown off the trail by the thief's confederates. The police warn that there is little they can do. Advised that stolen goods often surface at the Piazza Vittorio market, Antonio goes there with several friends and Bruno. They find a bicycle that might be Antonio's, but the serial numbers do not match.

At the Porta Portese market, Antonio and Bruno spot the thief with an old man. The thief eludes them and the old man feigns ignorance. They follow him into a church where he too slips away from them.

In a subsequent encounter with the thief, Antonio pursues him into a brothel, whose denizens eject them. In the street, hostile neighbors gather as Antonio accuses the thief, who conveniently falls into a fit for which the crowd blames Antonio. Bruno fetches a policeman, who searches the thief's apartment without success. The policeman tells Antonio the case is weak‍—‌Antonio has no witnesses and the neighbors are certain to provide the thief with an alibi. Antonio and Bruno leave in despair amid jeers and threats from the crowd.

On their way home, they are walking near Stadio Nazionale PNF football stadium. Antonio sees an unattended bicycle near a doorway and after much anguished soul-searching, instructs Bruno to take the tram to a stop nearby and wait. Antonio circles the unattended bicycle and jumps on it. Instantly the hue and cry is raised and Bruno – who has missed the tram – is stunned to see his father pursued, surrounded and pulled from the bicycle. As Antonio is being muscled toward the police station, the bicycle's owner notices Bruno and in a moment of compassion tells the others to release Antonio.

Antonio and Bruno then walk off slowly amid a buffeting crowd. Antonio fights back tears and Bruno takes his hand. The camera watches from behind as they disappear into the crowd.


Cast


  • Lamberto Maggiorani as Antonio Ricci
  • Enzo Staiola as Bruno Ricci, Antonio's son
  • Lianella Carell as Maria Ricci, Antonio's wife
  • Gino Saltamerenda as Baiocco, Antonio's friend who helps search
  • Vittorio Antonucci as Alfredo Catelli the Bicycle thief
  • Giulio Chiari as a Beggar
  • Elena Altieri as the Charitable Lady
  • Carlo Jachino as a Beggar
  • Michele Sakara as the Secretary of the Charity Organization
  • Emma Druetti
  • Fausto Guerzoni as an Amateur Actor
  • Giulio Battiferri as a Citizen Who Protects the Real Thief (uncredited)

 


Production


Bicycle Thieves is the best-known work of Italian neorealism, the movement that formally began with Roberto Rossellini's Rome, Open City (1945) and aimed to give cinema a new degree of realism.[13] De Sica had just made Shoeshine (1946), but was unable to get financial backing from any major studio for the film, so he raised the money himself from friends. Wanting to portray the poverty and unemployment of post-war Italy,[14] he co-wrote a script with Cesare Zavattini and others using only the title and few plot devices of a little-known novel of the time by poet and artist Luigi Bartolini.[15] Following the precepts of neorealism, De Sica shot only on location (that is, no studio sets) and cast only untrained actors. (Lamberto Maggiorani, for example, was a factory worker.) That some actors' roles paralleled their lives off screen added realism to the film.[16] De Sica cast Maggiorani when he had brought his young son to an audition for the film. He later cast the 8-year-old Enzo Staiola when he noticed the young boy watching the film's production on a street while helping his father sell flowers. The film's final shot of Antonio and Bruno walking away from the camera into the distance is an homage to many of the films of Charlie Chaplin, who was De Sica's favourite filmmaker.[17]

Uncovering the drama in everyday life, the wonderful in the daily news.

— Vittorio De Sica in Abbiamo domandato a De Sica perché fa un film dal Ladro di biciclette (We asked De Sica why he makes a movie on the Bicycle Thief) – La fiera letteraria, 6/2/48

Translated title


The original Italian title is Ladri di biciclette. It literally translates into English as Bicycles Thieves, as there is no definite article and both ladri and biciclette are plural. The film was released as Bicycle Thieves in the United States and the United Kingdom.[citation needed] The poster titles were The Bicycle Thief in the US and The Bicycle Thieves in the UK.[18][better source needed]

Bosley Crowther used The Bicycle Thief in his 1949 review in The New York Times,[5] and as a result[citation needed] this came to be the title by which the film was known in the United States, and some people became attached to it.[citation needed] When the film was re-released in the late-1990s, Bob Graham, staff film critic for the San Francisco Chronicle, was quoted as saying that he preferred the title The Bicycle Thief, stating, "Purists have criticized the English title of the film as a poor translation of the Italian ladri, which is plural. What blindness! The Bicycle Thief is one of those wonderful titles whose power does not sink in until the film is over".[19]

According to critic Philip French of The Observer, the alternative title The Bicycle Thief is misleading, "because the desperate hero eventually becomes himself a bicycle thief".[20] The 2007 Criterion Collection release in North America uses the plural title.[21]

De Sica changed many aspects of Bartolini's novel, but retained the title, which used the plural form and referred, in the book, to a post-war culture of rampant thievery and disrespect for civil order countered only by an inept police force and indifferent allied occupiers.[22]


Critical reception


When Bicycle Thieves was released in Italy, it was viewed with hostility and as portraying Italians in a negative way. Italian critic Guido Aristarco praised it, but also complained that "sentimentality might at times take the place of artistic emotion." Fellow Italian neorealist film director Luchino Visconti criticized the film, saying that it was a mistake to use a professional actor to dub over Lamberto Maggiorani's dialogue.[17] Luigi Bartolini, the author of the novel from which de Sica drew his title, was highly critical of the film, feeling that the spirit of his book had been thoroughly betrayed because his protagonist was a middle-class intellectual and his theme was the breakdown of civil order.[22]

Bicycle Thieves has continued to gain very high praise from critics, with the review aggregator website Rotten Tomatoes reporting 99% of 67 contemporary reviews as positive, with an average rating of 9.20/10. The site's critics consensus reads, "An Italian neorealism exemplar, Bicycle Thieves thrives on its non-flashy performances and searing emotion."[23] The picture is also in the Vatican's Best Films List for portraying humanistic values.[24]

Bosley Crowther, film critic for The New York Times, lauded the film and its message in his review. He wrote, "Again the Italians have sent us a brilliant and devastating film in Vittorio De Sica's rueful drama of modern city life, The Bicycle Thief. Widely and fervently heralded by those who had seen it abroad (where it already has won several prizes at various film festivals), this heart-tearing picture of frustration, which came to [the World Theater] yesterday, bids fair to fulfill all the forecasts of its absolute triumph over here. For once more the talented De Sica, who gave us the shattering Shoeshine, that desperately tragic demonstration of juvenile corruption in post-war Rome, has laid hold upon and sharply imaged in simple and realistic terms a major—indeed, a fundamental and universal—dramatic theme. It is the isolation and loneliness of the little man in this complex social world that is ironically blessed with institutions to comfort and protect mankind".[5] Pierre Leprohon wrote in Cinéma D'Aujourd that "what must not be ignored on the social level is that the character is shown not at the beginning of a crisis but at its outcome. One need only to look at his face, his uncertain gait, his hesitant or fearful attitudes to understand that Ricci is already a victim, a diminished man who has lost his confidence." Lotte Eisner called it the best Italian film since World War II and Robert Winnington called it "the most successful record of any foreign film in British cinema."[17]

When the film was re-released in the late 1990s Bob Graham, staff film critic for the San Francisco Chronicle, gave the drama a positive review: "The roles are played by non-actors, Lamberto Maggiorani as the father and Enzo Staiola as the solemn boy, who sometimes appears to be a miniature man. They bring a grave dignity to De Sica's unblinking view of post-war Italy. The wheel of life turns and grinds people down; the man who was riding high in the morning is brought low by nightfall. It is impossible to imagine this story in any other form than De Sica's. The new black-and-white print has an extraordinary range of grey tones that get darker as life closes in".[19] In 1999, Chicago Sun-Times film reviewer Roger Ebert wrote that "The Bicycle Thief" is so well-entrenched as an official masterpiece that it is a little startling to visit it again after many years and realize that it is still alive and has strength and freshness. Given an honorary Oscar in 1949, routinely voted one of the greatest films of all time, revered as one of the foundation stones of Italian neorealism, it is a simple, powerful film about a man who needs a job". Ebert added the film to his "Great Movies" list.[25] In 2020, A. O. Scott praised the film in an essay entitled "Why You Should Still Care About 'Bicycle Thieves'."[26]

Bicycle Thieves is a fixture on the British Film Institute's Sight & Sound critics' and directors' polls of the greatest films ever made. The film ranked 1st and 7th on critics' poll in 1952 and 1962 respectively. It ranked 11th on the magazine's 1992 Critics' poll, 45th in 2002 Critics' Poll[27] and 6th on the 2002 Directors' Top Ten Poll.[28] It was slightly lower in the 2012 directors' poll, 10th[29] and 33rd on the 2012 critics' poll.[30] The Village Voice ranked the film at number 37 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics.[31] The film was voted at No. 99 on the list of "100 Greatest Films" by the prominent French magazine Cahiers du cinéma in 2008.[32]


Legacy


Many directors have cited it as a major influence including Satyajit Ray, Ken Loach, Giorgio Mangiamele, Bimal Roy, Anurag Kashyap, Balu Mahendra, Vetrimaaran and Basu Chatterjee.[33][34][35][36][37][38][39]

The film was noteworthy for film directors of the Iranian New Wave, such as Jafar Panahi and Dariush Mehrjui.[40][41]

The film was one of 39 foreign films recommended by Martin Scorsese.[42]

Filipino action star Nelson Anderson said it was the favorite Italian neorealist film of his contemporary Weng Weng, who cried upon his first viewing in the early 1980s. In a project that never materialized, they intended to depart from their usual fare by remaking it as an action-comedy with a human touch.[43]

It was parodied in the film The Icicle Thief (1989).

The film features in the 1992 Robert Altman film The Player. In this film Griffin Mill (played by Tim Robbins), a Hollywood studio executive, tracks screenwriter David Kahane (played by Vincent D'Onofrio) to a screening of Bicycle Thieves, and stages what he represents as a chance meeting with Kahane. Kahane's suspicion is roused by the fact that Mill entered the screening only in the last few minutes of the film, and the two have an argument afterwards, resulting in Kahane's death. Anyone otherwise unaware viewing the last few minutes of Bicycle Thieves - comprising Antonio's attempted theft - would gain a distorted perspective on Antonio's motives, just as Mill misjudges Kahane, whom he wrongly thinks has been sending him hate mail.

Norman Loftis's film Messenger (1994) is considered to be a remake of Bicycle Thieves.[44][45]


Stage adaptation


A theatrical adaptation of the film was created by Littlebrain Theatre, in a devised adaptation with a cast of nine.[46] The production premiered as part of the Rhinoceros Theatre Festival in Chicago, from January 18 to February 22, 2019.[47]


Awards



See also



References


  1. "Bicycle Thieves (1948)". The Criterion Collection. Retrieved August 1, 2021.
  2. Gordon, Robert (2008). Bicycle Thieves (Ladri Di Biciclette). New York: Macmillan. p. 26. ISBN 9781844572380. Retrieved 29 April 2018.
  3. "Wheels of History". Village Voice. October 6, 1998. Retrieved May 29, 2021.
  4. "The Bicycle Thieves (1949)". Box Office Mojo. Retrieved October 1, 2014.
  5. Crowther, Bosley (December 13, 1949). "The Bicycle Thief (1948) THE SCREEN; Vittorio De Sica's 'The Bicycle Thief,' a Drama of Post-War Rome, Arrives at World". The New York Times. Archived from the original on February 7, 2022. Retrieved February 7, 2022.
  6. Scott, A.O. (August 13, 2020). "Why You Should Still Care About 'Bicycle Thieves' - On the unforgettable heartbreak and enduring pleasures of an Italian neorealist masterpiece". The New York Times. Retrieved August 16, 2020.
  7. Ebert, Roger (March 19, 1999). "The Bicycle Thief / Bicycle Thieves (1949) review". Chicago Sun-Times. Archived from the original on February 27, 2009. Retrieved July 20, 2010.
  8. Sight and Sound Top Ten Poll Archived 2017-02-01 at the Wayback Machine, director's list 2002. Last accessed: 2014-01-19.
  9. Ebert, Roger. "TCM's 15 most influential films of all time, and 10 from me". Chicago Sun-Times. Retrieved 8 September 2011.
  10. Ebert, Roger. "The Bicycle Thief / Bicycle Thieves (1949)". Chicago Sun-Times. Retrieved 8 September 2011.
  11. "The 100 Best Films Of World Cinema – 60. Jean de Florette". Empire.
  12. "Ecco i cento film italiani da salvare Corriere della Sera". www.corriere.it. Retrieved 2021-03-11.
  13. Megan, Ratner Archived 2007-08-10 at the Wayback Machine. GreenCine, "Italian Neo-Realism," 2005. Last accessed: December 30, 2007.
  14. Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. p. 232.
  15. Gordon, Robert (2008). Bicycle Thieves (Ladri Di Biciclette). New York: Macmillan. pp. 3–4. ISBN 9781844572380. Retrieved 17 August 2015.
  16. Associated Press. Published in The New York Times. Lamberto Maggiorani Obituary. April 24, 1983. Last accessed: December 30, 2007.
  17. Wakeman. p. 232.
  18. "Bicycle Thieves (1948): Release Info". IMDb. Retrieved October 3, 2016.
  19. Graham, Bob. San Francisco Chronicle, film review, November 6, 1998. Last accessed: December 30, 2007.
  20. French, Philip. The Guardian, DVD review, February 19, 2006. Last accessed: December 30, 2007.
  21. DVD Talk review of the Criterion Collection DVD, 17 Feb, 2007.
  22. Healey, Robin (1998). Twentieth-century Italian Literature in English Translation: An Annotated Bibliography 1929-1997. Toronto: University of Toronto Press. p. 49. ISBN 0802008003. Retrieved 17 August 2015.
  23. "The Bicycle Thief (1949)". Rotten Tomatoes. Retrieved April 27, 2022.
  24. United States Conference of Catholic Bishops website, 2008. Last accessed: May 20, 2008.
  25. "Bicycle Thieves". Roger Ebert. 19 March 1999.
  26. Scott, A.O. (August 13, 2020). "Why You Should Still Care About 'Bicycle Thieves'". The New York Times. Retrieved September 12, 2021.
  27. "The Sight & Sound Top Ten Poll 2002 The Rest of Critic's List". old.bfi.org.uk. Archived from the original on 2016-08-13. Retrieved 2021-05-16.
  28. "Sight & Sound Top Ten Poll 2002 The Rest of Director's List". old.bfi.org.uk. Archived from the original on 2017-02-01. Retrieved 2014-01-19.
  29. "Directors' Top 100". Sight & Sound. British Film Institute. 2012.
  30. "Critics' Top 100". Sight & Sound. British Film Institute. 2012.
  31. "Take One: The First Annual Village Voice Film Critics' Poll". The Village Voice. 1999. Archived from the original on 26 August 2007. Retrieved 27 July 2006.
  32. "Cahiers du cinéma's 100 Greatest Films". 23 November 2008.
  33. Robinson, A. Satyajit Ray: A Vision of Cinema. I. B. Tauris.2005. ISBN 1-84511-074-9. p. 48.
  34. Lamont, Tom (16 May 2010). "Films that changed my life: Ken Loach". London: The Observer. Retrieved 22 July 2019.
  35. National Film and Sound Archive: 'Il Contratto' on Australianscreen
  36. Anwar Huda (2004). The Art and science of Cinema. Atlantic Publishers & Dist. p. 100. ISBN 81-269-0348-1.
  37. Akbar, Irena (14 June 2008). "Why Sica Moved Patna". Indian Express Archive. Retrieved 4 May 2015.
  38. Mahendra, Balu (7 September 2012). "சினிமாவும் நானும்..." (in Tamil). filmmakerbalumahendra.blogspot.in. Retrieved 9 June 2014.
  39. "A Manzil of Memories: Rare Memorabilia Of Basu Chatterji's Films". Learning & Creativity. 2014-04-25. Retrieved 2014-05-27.
  40. "Remarks by JAFAR PANAHI". Film Scouts LLC. Archived from the original on 24 August 2011. Retrieved 22 May 2012.
  41. Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 663–669.
  42. Bell, Crystal (March 27, 2012). "Martin Scorsese Foreign Film List: Director Recommends 39 Films To Young Filmmaker Colin Levy". Huffington Post. Retrieved January 14, 2021.
  43. Leavold, Andrew (2017). The Search for Weng Weng. Australia: The LedaTape Organisation. pp. 180–181. ISBN 9780994411235.
  44. Kehr, Dave (October 20, 1995). "'Messenger' Delivers Stark Film Captures 1995 New York". The Daily News. Retrieved April 8, 2018.
  45. Rooney, David (June 27, 1994). "Messenger". Variety. Retrieved April 8, 2018.
  46. Barr, Zach (November 20, 2018). "Littlebrain Theatre". Facebook. Retrieved November 20, 2018.
  47. "Rhinoceros Theatre Festival 2019". Prop Thtr. December 27, 2018. Retrieved January 14, 2019.
  48. Ebert, Roger. "TCM's 15 most influential films of all time, and 10 from me | Roger Ebert's Journal". Roger Ebert. Retrieved 2013-06-29.
  49. "The 100 Best Films Of World Cinema". Empire.
  50. "The 100 Greatest foreign-language films". BBC Culture. Retrieved January 14, 2021.


Wikiquote has quotations related to Bicycle Thieves.

На других языках

[de] Fahrraddiebe

Fahrraddiebe (Originaltitel: Ladri di biciclette) ist ein italienischer Spielfilm von Vittorio De Sica aus dem Jahr 1948 nach einem 1946 erschienenen Roman von Luigi Bartolini. Im Italien der Nachkriegszeit versucht ein verarmter Familienvater sein gestohlenes Fahrrad wiederzufinden, von dem seine gerade erhaltene Arbeitsstelle abhängt. Nach seiner Premiere wurde der Film international mit vielen Preisen wie dem Oscar als Bester fremdsprachiger Film geehrt und beeinflusste viele spätere Filmemacher. Fahrraddiebe wird heute als einer der Höhepunkte des Italienischen Neorealismus gesehen und in Umfragen unter Filmexperten regelmäßig als einer der besten Filme aller Zeiten benannt.
- [en] Bicycle Thieves

[it] Ladri di biciclette

Ladri di biciclette è un film del 1948 diretto, prodotto e in parte sceneggiato da Vittorio De Sica. Girato con un'ampia partecipazione di attori non professionisti, prende lo spunto dal titolo dell'omonimo romanzo Ladri di biciclette (1946) di Luigi Bartolini, sebbene si tratti di un soggetto originale di Cesare Zavattini. È tuttora considerato un classico della storia del cinema ed è ritenuto uno dei massimi capolavori del neorealismo cinematografico italiano.[1][2][3]

[ru] Похитители велосипедов

«Похитители велосипедов» (итал. Ladri di biciclette) — драма Витторио де Сика 1948 года по одноимённому произведению Луиджи Бартолини, ставшая классикой итальянского неореализма и мирового кинематографа в целом. Стабильно входит в список лучших фильмов по версии IMDb. В мае 1950 года был выпущен в советский кинопрокат.


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