82/100 (İkinci kez izledim. Hırsıza koca Roma'da iki kez denk gelmesi ve daha ilk iş gününde bisikleti kaptırması dışında senaryo çok iyi sayılır. Önceden izlediğimde senaryo daha kötü gelmişti. Hatta görüntü yönetimi berbat gelmişti ama şimdi izleyince o amatörlüğe iyi uyum sağladığını düşünüyorum. Her neyse bu filmin önemli bir derdi var bence. Çok konuşmaya gerek yok, filmin sonu konuşuyor zaten.)
Likely the finest example of Italian neorealism, and an exercise in the use of a simple setup to explore both the micro (characters and their emotions) and the macro (economic depression and its societal effects). The word “masterful” is bandied about too often, but it applies here.
The 30s-60s of world cinema had a wave of films which ultra-romanticised the working class: Metropolis, Charlie Chaplin’s films, Satyajit Ray’s films, mother India, mouchette, man with a movie camera etc. So did Italian cinema: bicycle thieves. I love how tragedy has been depicted with such irony!
With this captivating and also uncomfortable portrait of post-war social reality Vittorio De Sica delivered a timeless masterpiece and one of the best films of Italian neorealistic cinema. Cinematography, dramaturgy and storytelling are still stunning, In addition, Alessandro Cicognini wrote one of his strongest scores for the movie.
La grande simplicité dramatique de ce film repose à la fois sur la force de la banalité morale de son propos, le magnétisme incroyable des acteurs et ce mélange de plans entre ampleur et intimisme. On pense à Chaplin sans l'humour et avec plus d'engagement de la part de De Sica, qui signe une merveilleuse ode à la résignation des démunis.
My, I found this film absolutely, remorselessly, mind-numbingly boring. I'm sure it's an essential classic - but just...man was I disappointed. It's the Italian version of that all too real, hard-core miserablist kitchen-sink drama. The 'ending', which I'm sure drives grown men to tears - made me laugh, and not even that much.
4.5 stars. Less realist and more fabulist that its designation as 'neorealist' would imply, but the two central performances are so emotionally convincing that you only feel whatsoever manipulated in retrospect [in this way, it reminds me of Ghibli's 'Grave of the Fireflies']. I wonder if it's an especially male thing to do, but I couldn't help but read my relationship with my own dad into the film. Weepily sincere.
Its rudimentary plot functions as a phenomenological act of disclosing the essence of human existence in a masterfuly lit and photographed (re)presentation of the human world itself. Human solitude is effortlessly suspended in De Sica's superlative sense of motility, which captures the deeper and fundamental solidarity between humans as well as the painful realization that this may no longer exist. Sheer masterpiece!
Like a shaggy dog version of Kurosawa's 'Stray Dog', 'Bicycle Thieves' is an understated articulation of issues accompanying life in Italy's post-war economic depression. It also reminds me a bit of 'M' in the way it lays out why someone could completely and utterly fail to overcome the criminal element in a crowded city. I can see why it meant so much to the Italian neorealist movement.
A thoughtful, kind-hearted, deeply compassionate movie about the plight of the common man that is also, well, kinda boring. It has some really nice moments but a lot of it feels a bit flat to me, lacking that certain punch or panache it needed to win me over. A movie I can respect, while not especially enjoying. It gets a B-.
The face of Italian cinema/neorealism and deservingly so, following a father and son on a quest to make ends meet with the help of a bicycle but all goes array when said bicycle is stolen and the father attempts to steal another. A profoundly touching film with a most notable child performance by a non-actor.