Bicycle theives the unspoken allure of

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Bicycle theives the unspoken allure of

Film with profound influence May 24, Its maker, the legendary master of Italian neo-realism, Vittorio de Sicadirected a series of Bicycle theives the unspoken allure of films, but none with a greater impact on the connoisseur and commoner alike than The Bicycle Thieves.

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Shoeshine is about two young boys, Pascale and Giuseppe, who survive the cruel war days by shining shoes. They are good friends who share in many small-time adventures, but one day they are arrested and put in a reformatory for juvenile offenders where their trials really begin.

They make a desperate bid for freedom and manage to escape but they cannot ward off their tragic destiny. In the film, De Sica dramatically shows the corruption of youthful innocence by the adult world. Its bleakness and almost unrelieved gloom endorse the view that while men fight and win or lose wars, the worst sufferers in any war are unprotected children and equally vulnerable womenfolk.

It is difficult to think of Shoeshine without its condemnation of the ideology of war. In contrast, The Bicycle Thieves ends on a note of assertion of the human spirit which, when the film was made, seemed weighed down heavily by the material and psychological consequences of the World War, particularly for those on the losing side.

After selling or pawning everything he owns, including the family linen, he manages to buy one, only to have it stolen.

Bicycle theives the unspoken allure of

Accompanied by his small boy, Bruno, Antonio scours the urban wilderness for the thief and his bicycle -- but to no avail. Meanwhile, the ultimate humiliation awaits Antonio which he overcomes by virtue of a divine moment of unspoken solidarity with his little son. For six decades, The Bicycle Thieves has had the kind of international influence that any filmmaker of class would give his life for.

The views of at least two unabashed lovers of this great human, artistic and political document may be recalled. It was during a visit to London in that Ray first saw The Bicycle Thieves and felt immediately attracted to it.

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It gave him the confidence he needed to use non-professionals as well as outdoor locations for Pather Panchali.

In years to follow, Ray was to see the works of other neo-realist masters but, as he was to repeatedly say, for him De Sica represented the highest achievements of Italian neo-realist cinema.

Calling the film an exalted specimen of pure cinema, Bazin underlined the absence of professional artists, the absence of sets and the bare presence of a storyline.

De Sica rounded off his celebrated trilogy with the story of Umberto Domenico Ferrari, an old-age pensioner who finds it a devastating experience to make two ends meet on a miserable government dole. For one thing, it was made with his own money.

More importantly, the film reflected beliefs and commitments that De Sica held dear. Great as The Bicycle Thieves is as both art and politics, its chances of popular acceptance were enhanced by the innocent sufferings of the child Bruno and his sad yet loving relationship with his father.

There was no such element of relief, if that is the right word to use, in the saga of the old man who, swallowing his pride and dignity, is compelled to fall back on varied tricks to save himself from going under. In the amazingly lyrical Miracle in MilanDe Sica renounced for a while his preoccupation with neo-realism.

Bicycle theives the unspoken allure of

His hitherto quiet but moving struggle with the nitty-gritty of life as faced by the lowest common denominator is replaced here by a fantasy so fantastic as never to have been equalled by anyone attempting anything similar. Verily, masters die, but their works stay on Miracle in Milan is populated by an assortment of characters who are often as crazy and colourful as they are desolate and deprived.

They are residents of a shanty town who try to resist their expulsion by a group of powerful landowners who want to clear the place and put up buildings and factories. In a visually stunning denouement, these mythical characters escape poverty by flying over the city of Milan on magic broomsticks.

A work of heightened imagination, the film can be read as a paean to the magic and miracle of cinema which allows free admittance to even the poor and powerless to the realm of gorgeous wish-fulfilment.

At the same time, it can be taken as an oblique condemnation of the philistinism and bourgeois greed with which commercial centres like Milan were and are associated.Unspoken Bikes is a full service bike shop.

Located in the heart of downtown Weatherford, we are committed to serving the Texas cycling communtity. Unspoken Bike Shop.

We would like to show you a description here but the site won’t allow us. Bicycle Theives Bicycle Thieves: The Unspoken Allure of Communism Bicycle Thieves is an exemplary demonstration of Italian neorealism that seeks to use non-professional actors to illustrate the struggle of average people surviving under a Fascist government.

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Often in critics’ all-time top tens, the Italian director Vittorio De Sica’s Bicycle Thieves is tender and immediate, a simple tale of a man whose bike is stolenwhen his job and life depends. Bicycle Thieves: The Unspoken Allure of Communism Bicycle Thieves is an exemplary demonstration of Italian neorealism that seeks to use non-professional actors to illustrate the struggle of average people surviving under a Fascist government.

The Bicycle Thieves ends on a note of assertion of the human spirit which seemed weighed down by the material and psychological consequences of the World War.

Bicycle Thieves by Luigi Bartolini