Bicycle Thieves

 

Bicycle Thieves (Italian: Ladri di biciclette; sometimes known in the United States as The Bicycle Thief) is a 1948 Italian neorealist drama film directed by Vittorio De Sica. 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.

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; fifty years later another poll organized by the same magazine ranked it sixth among the greatest-ever films. 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, and it is considered part of the canon of classic cinema. 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. 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."

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.