A brief look at The Bicycle Thief

'The Bicycle Thief' is an iconic film that demonstrates the hardships of the working class in post-war Italy in the forties. True to the Italian Neorealist form, the film uses lengthy camera shots, little or no artificial lighting, and is shot on location using non actors to highlight the authenticity of the protagonist's struggle to find his bicycle and keep his job.

Economic woes, social injustice and ambivalent authorities are key themes of 'The Bicycle Thief'. We see how difficult life is for Ricci and other middle class workers in scenes such as the overcrowding bus, and thus sympathize with his desperation to find his stolen bicycle in order to keep his livelihood. The nonchalance of the police to his plight, repeated on three different occasions when they either ignore, or are unable to help Ricci, as well as the juxtaposition of his economic standing with the rich diners in the restaurant he patronizes reflect the problems the society was facing at the time. Yet there is still some beauty to his hard life as Ricci discovers that it is ultimately family that is most important, and finds time to appreciate a fancy meal with his son.

Long takes are a stylistic feature of Italian Neorealist films and dominate the cinematography of 'The Bicycle Thief'. Each shot in the film is held for a longer time than is necessary to showcase the main action to enhance the organic reality of the scene. In some cases such as the shot where Ricci and his son chase after the thief on his bicycle, the main characters ran out of focus within the frame and were so far from the camera we could hardly see them. In other cases, a shot might be held for a longer time while the same action is repeated, such as when Ricci was putting up his first poster by himself. The tension mounts with each swipe of glue Ricci puts on the poster and is finally broken when his bicycle is abruptly stolen.

Being filmed on location, most of the film is lit by natural sunlight. Otherwise, most indoor scenes were lit realistically without special effects or intention. Filming on location was both practical in post-war Italy, as well as a good way to showcase the genuine problems on the streets. To add to the authenticity, the lead character Ricci was played by a non actor, even after Hollywood promised funding for the film on the condition that Cary Grant take on the role. According to director De Sica, it was important to have a 'real working man' and not a glamorous actor, play the part.

The unclear ending of the film is another indicator of its Neorealist style, which favors unresolved plot lines. With Ricci's failed attempt to steal a bicycle himself, the film closes on an ambiguous note as we are left to guess at Ricci and his family's fate. Indeed such an ending is true to life, which is what Italian Neorealist films seek to be.