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  • Bicycle thieves analysis
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  • Bicycle thieves summary

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    Bijesh Mishra, Ph.D.

    Date: October 7, 2012

                The Bicycle Thief (Italian: Ladri di biciclette) is Italian movie released in 24 Nov, 1948. Original translation of the Italian title gives name “Bicycle Thieves” but movie is released as “The Bicycle Thief” in United States, but in UK and in Criterion Collection in North America it’s released as “Bicycle Thieves”.

                Bicycle thief is the best example of Italian neorealism. He has shot on location (not in studio) and cast only untrained non-actors (Lamberto Maggiorani was a real factory worker). Maggiorani got opportunity to play after he brought his son to an audition for film. But later-on 8 years old boy Enzo Staiola was casted when De Sica saw 8-years boy watching film production and helping his father to sell flowers at the street.

                This movie has received Academy Honorary Award, 1950 and was deemed as the greatest film of all time andranked in sixth position among greatest-ever films by Sight Sound Magazine’s poll of filmmakers. It’s one of the top ten among the British Film Institute’s List of  the&

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    VERDICT – 4.5 STARS

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    Bicycle Thieves

    1948 film by Vittorio De Sica

    For other uses, see The Bicycle Thief (disambiguation).

    Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief,[5] is a 1948 Italian neorealistdrama 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.

    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.[1

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