Bicycle Thieves (Ladri di biciclette) (BFI Film Classics)

Bicycle Thieves (Ladri di biciclette) (BFI Film Classics)

Robert S. C. Gordon

Bicycle Thieves (Ladri di biciclette) Vittorio de Sica, 1948 is unarguably one of many primary movies within the historical past of cinema.  it's also probably the most beguiling, relocating and (apparently) easy items of narrative cinema ever made. The movie tells the tale of 1 guy and his son, as they seek fruitlessly during the streets of Rome for his stolen bicycle; the bicycle which had ultimately freed him from the poverty and humiliation of longterm unemployment. 

One of a cluster of remarkable movies to return out of post-war, post-Fascist Italy after 1945 – loosely labelled ‘neo-realist’ – Bicycle Thieves received an Oscar in 1949, crowned the 1st Sight and Sound ballot of the easiest movies of all time in 1952 and has been highly influential all through global cinema ever since.  It continues to be an important aspect of reference for any cinematic engagement with the labyrinthine event of the fashionable urban, the travails of poverty within the modern international, the advanced bond among fathers and sons, and the ability of the digital camera to catch anything just like the essence of all of these. 

Robert S. C. Gordon’s BFI movie Classics quantity exhibits how Bicycle Thieves is ripe for re-viewing, for rescuing from its precious prestige as a neo-realist ‘classic’. It seems to be on the film’s drawn-out making plans and construction heritage, the colourful and riven context during which it was once made, and the dynamic geography, geometry and sociology of the movie that resulted. 

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