In one scene, Bruno closes the window in the house before leaving so that his infant sibling will keep warm. He cares for his father’s bike and knows more about it than he does. Bruno’s pattern is that of a young boy who is mature beyond his years.
THE ICYCLE THIEF MOVIE
Nevertheless, the movie has a very serious tone that makes the viewer feel as if he or she is part of the journey.Īside from the Classical Hollywood Narrative, the character of Bruno creates a strong pattern in this film’s form. After all, this film perfectly captures the failures and injustices in life, and it likely conjures up similar memories of hardships in the viewer’s mind. Whereas most Hollywood films are designed the leave the viewer feeling good, this film may leave many viewers depressed and without closure. This divergence from the Classical Hollywood ending was subtle yet important. After his failed attempt of bike theft, Antonio walks home with his son-crying, depressed, and defeated, with no hope of returning to his job or providing for his family. Antonio never recovers his bicycle, and his life continues on a downward spiral.
While the film meets many of the characteristics of the Classical Hollywood Narrative, there was one important difference: There was no happy ending in this film. For example, his character is first portrayed as having a relatively high moral standard, but by the end of the film, he compromises his values by threatening to kill people, going to a seer for advice, becoming more hostile toward his son, and attempting to steal a bike. In addition, viewers are taken on an emotional journey, feeling the frustration and desperation of Antonio as his search continues.Īlthough Antonio never achieves his goal, viewers can see how his character went through a process of change. The film progresses in a logical, linear fashion, having no major lapses in time. Antonio’s main goal is to get a job, but it quickly changes into the main plot of the movie: to locate his stolen bicycle so that he can return to work. The film focuses on the main character, Antonio Ricci, and his son, Bruno, throughout. The Bicycle Thief relates to the Classical Hollywood Narrative in many ways. The film clearly contains many elements of the Classical Hollywood Narrative (the ending being an important exception), and it makes excellent use of film form, mise-en-scene, and cinematography to tell the story in a compelling way. The setting of this movie takes place in post-war Rome, where economic struggles are commonplace. The film follows Antonio Ricci, the main character, during his search for his stolen bicycle. The Bicycle Thief, directed by Vittoria De Sica, is a film that reflects Italian neorealism.
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