![]() This is what Scorsese said about Italian neorealism: "To me these movies define the most precious moment in film history. So I think the appeal, at least for me, is that such a seemingly small, simple story is really telling a much bigger one. ![]() It takes away some of the last things he had-his dignity and the respect and admiration of his son.Īnd then afterward, they walk off and disappear into a crowd of other people living their own stories. So when the tables are turned, it changes everything. A bad guy stole his father's bicycle, and his father, a good guy, is just trying to get it back. From the boy's perspective, maybe this is a story about good guys and bad guys. The people in the restaurant, the bicycle race that goes past, all while others are struggling and fighting so hard for the smallest things.Īnd, of course, there are the thieves. The camera lingers a little bit on the lines of people, picks up snippets of conversations, and takes you back into the rows of bicycles and shelves piled to the ceiling with sheets in the pawn shop, hinting at many, many more concurrent stories just like this one.Īnd there are reminders that there are others who aren't in the same situation living right alongside them. It's the story of a poor but dignified man and his family, including his very young son who admires him immensely, and of that man's efforts to just get by.īut throughout the film, you're reminded regularly that this is just one man and one family. GradeSaver, 7 November 2018 Web.Bicycle Thieves, at first glance, is a small intimate little story, the kind you would expect to end with a neat, conclusive moral. Next Section Director's Influence Previous Section Character List Buy Study Guide How To Cite in MLA Format Delaney, Darby. In addition to Bicycle Thieves, he had supporting roles in Campane a martello (1949) starring Gina Lollobrigida and The Affairs of Messalina (1951). Gino Saltamerenda had a short yet productive career. I need you.” Carell acted for about 10 years, followed by a fruitful screenwriting career, with credits including Love and Trouble (1958) starring Marcello Mastroianni and Carnal Circuit (1969) starring Dorothy Malone. Carell asserted that she was not an actress, but De Sica said, “The cinema needs you, your face. Carell was a young journalist set to interview De Sica, who insisted that she take a screen test for the role of Maria. Like Staiola, Lianella Carell was fortuitously cast for her immediate visual appearance by De Sica. He appeared in some other films, namely The Barefoot Contessa (1954) starring Humphrey Bogart and Ava Gardner, but he became a math teacher in adulthood. ![]() Once Staiola arrived at the auditions, De Sica said, “He’s the one,” and Staiola received the part without ever having to audition. De Sica was the one following Staolia, and he purposely set up auditions for the role of Bruno near Staolia’s house. He ran away because the city was dangerous at the time and child kidnapping rates were high. In an interview with the Criterion Collection, Enzo Staolia remarked that a car followed him around Rome when he was a young boy. His performance in The Bicycle Thieves catalyzed Maggiorani’s career, and he went on to star in several Italian films, although these roles never matched the success of his celebrated role as Antonio. ![]() He was a factory worker personally chosen by De Sica because his physique-a tall, angular frame and sunken cheekbones-evoked the disposition of an ordinary, unsophisticated man and thereby made him an ideal choice for Antonio. Like many of the cast members of Bicycle Thieves, Lamberto Maggiorani was not a professional actor. ![]()
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