![]() ![]() ![]() Both films reflect their directors’ personal formal gifts, and their distinct approaches to “the real” transmute the very different production circumstances under which they were created. Where Citizen Kane heralded the age of the auteur and a cinema of passionate individual vision, Bicycle Thieves renounced “egoism” for collective concern, envisioning a cinema of impassioned social conscience. The tendencies they signaled-ones soon fused into a singular aesthetic by the French new wave-are not so much divergent as complementary. Though separated by World War II, the two movies symbolize the cardinal impulses that came to captivate serious audiences, critics, and filmmakers after the war. It will likely be remembered as a masterpiece of filmmaking and storytelling from this era for many years to come.Viewed in retrospect, much of modern cinema can seem to flow from twin fountainheads: Orson Welles’s Citizen Kane (1941) and Vittorio De Sica’s Bicycle Thieves (1948). The filmmakers probably inserted a clip of motion into the background to create this effect.Īlthough this film is older, it still has the ability to capture the attention of viewers. It is very clear that the vehicle is not really moving. The best example of this is when Antonio is riding in the truck with his friend. In addition, the vast number of bicycles reinforce the sadness of Antonio’s situation: all this man needs is one simple bicycle so that he can work, and they are everywhere! Yet, he can never find his own bike and that’s all he needs so that he can provide for his family.įinally, a traveling matte technique is visible in the film. The numerous bicycle props throughout the film also create a sense of suspense viewers are likely wondering if he’ll spot his bicycle. In contrast, the seer’s home is decorated with many furnishings. Antonio’s home is very bare inside, having few decorations. The props in the film also reinforce Antonio’s poverty and bad luck. Antonio’s family always wears clothing that is plain and dated. A family is portrayed as wealthy, and their clothing is very elaborate, with the women wearing expensive hats and men wearing well-made suits. This is even more apparent during the restaurant scene. The clothing that Antonio’s family wears throughout the movie is very basic, and it reflects their lower-class status. However, disaster strikes when Antonio’s bicycle is stolen, ad he started to look for it with Bruno.Īside from the lighting, the costume selection helps viewers understand the characters’ status. His wife, Maria sells the family’s bed linens to retrieve Antonio’s bicycle from the pawnshop so he can take the job. Unemployed Antonio Ricci is elated when he finally finds work hanging posters around war‑torn Rome. The summary of the movie “THE BICYCLE THIEF” ![]() THE BICYCLE THIEF this is the movie directed by VITTORIO DE SICA in 1949 where by the genre of this movie is, Neorealism because it is a national film movement characterized by stories set amongst the poor and the working class, where by the director used non professional actors, For example Ricci because he was searching for job every morning but one there is a job for a man who has bicycle but Ricci was trying to deny the job Opportunity because he has no bicycle.ĭirector has trying to show the Circle of poverty as the main theme of this film due to the fact that Ricci was not ready to take the job because he has no bicycle also his wife MARIA supported him by selling the inside properties (bed covers) for the purpose of getting money and buy bicycle also the thief stolen the Ricci bicycle because of poverty, hence poverty can lead to the underdevelopment in the society. ![]()
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