Title: Bicycle Thieves
Release Date: November 24, 1948
Director: Vittorio De Sica
Production Company: Produzioni De Sica
I watched this movie once before, perhaps at the Brattle Theatre, about 20 years ago when the title was still being translated as The Bicycle Thief. I didn’t remember it well despite it having a very simple story of poverty and injustice. It slots right in-between Rome, Open City and Umberto D for its unsentimental, neorealist portrayal of everyday life in post-war Rome, and I believe it’s the best of the three movies.
Antonio (Lamberto Maggiorani) is one of many unemployed men in Rome and as the film begins he is able to get a position hanging posters around the city. The catch is that he needs to have his own bicycle. Antonio has pawned his bike, so his wife Maria (Lianella Carell) pawns the linens they received as wedding gifts in order to retrieve the bike. Things are looking good for Antonio and his young family, but on the very first day of work, his bike is snatched by a thief ((Vittorio Antonucci).
The better part of the movie is spent on a Sunday where Antonio and his adorable and resilient 8-year-old son Bruno (Enzo Staiola) search for the bike and the thief. The encounter a number of dead ends and the increasing sense of desperation of finding one bike in a city of millions. There’s one joyous scene where Antonio rewards Bruno for his endurance by taking him for a simple meal, but even there they have to witness a wealthier family eat an elaborate meal. They are able to find the thief but the people in the thief’s community stand up for him and with no other witnesses or the bike itself, the police are unable to act.
In the heartbreaking finale, Antonio desperately attempts to steal a bike himself, only to be swiftly captured. This movie is not a happy one, but it is a very honest and human story. It’s also wonderfully filmed and acted, and one of those movies where the city is its own character in the story. Bicycle Thieves is a definite all-time classic.