Posted at 10.08.2018
It is evident that Italian Neorealism and the life of post-war molded the film Bi-cycle Thieves (1948). However, with much question, one can claim that the sentimental mother nature of the film overwhelms the videos potential to make a forceful political statement. With regards to important displays from the film, Italian neorealist ideas and the usage of sentiment; one can justifiably declare that the forceful political statement is not confused by sentiment, and in truth enhances the subject matter the film aims to provide off.
Neorealism was an influential and significant movement in film record, which took place in Italy at the stopping of World Warfare II. Italy changed from fascism and dictatorship, whereby much was revolved around a single-party state observed in World Conflict I, to the same and democratic population. This change in culture brought about characteristics and rules which became notable in cinema during this time period. These key points not only molded the film Bike Thieves, but were used to effect a result of a message to the audience.
The filmmakers and directors believed they had an ethical responsibility to work with cinema to market the public change that possessed just occurred post the conflict. Ultimately, it wasn't so much about the storyline of the film, but more about making the general public aware of the difficulties that employees had to face. Here we visit a Marxist methodology on the rebuilding of Italy - whereby unlike the mythology of Basic Hollywood, no person can change the planet and the best society will be a classless culture.
Neorealism's source of strength lies in the documentary quality which can be used to portray the realism of the storyplot. One might speculate what Bi-cycle Thieves would be like in colour, however the black and white aspect highlights the firmness of the film being truly a bleak, depressing sentiment - contrary to the use of colour which would identify liveliness and energy and go against the build of the film. Thus, obviously exhibiting that the sentiment results in the build of the film which enhances the meaning of showing the gloomy conditions of poverty in post-war Italy. The reconstituted reportage, predicated on lifestyle and situations, also provides more 'real truth' to the film and is also not the making of the documentary but rather shown and seen in a documentary-type way and aids to make available the focus of temporary altering and moving from one area or at the mercy of another.
Truth can be an important process of neorealism, as truth brings realism. This is seen through the reality of the characters, lighting, location, interior decoration, camera pictures, camera sides and editing and enhancing. This not only results in authenticity but also creates a much stronger message for the audience. In Bike Thieves, there's a correlation between truth and sentiment, and real truth and the politics statement - That happen to be justifiably both found in this film without over powering each other in order to positively enhance the films message. Undoubtedly, in order for a director to get an actual event (post-war) grasped by his audience - fact and realism is the very best approach.
Neorealism targets the individuals and themes without much focus on the story itself as the storyline sometimes appears to warp the truth about people. Thus, the film would've not only been boring if there is no sentiment (credited to there not being enough material if there was no story about character types), but to learn and understand a predicament, one must be put in a position where you have the opportunity of learning a great deal about the faith and frustrations of your human being. Similarly, a boring film is a failed film. Through this, neorealist's have the ability to portray fact to a larger extend through causing simplicity yet a way of understanding the 'real' life; a main appeal in videos right now.
The story being as simple as the search for a bicycle doesn't take the politics statement too far from the message. Moreover, the actual characters in the film are everyday normal people. The workman was within the factory, the child was wondering around the streets and the wife was a article writer. This is known as 'Typage' whereby there is no celebrity system which immediately creates an even more realistic/truth strategy and feel. Similarly, the locations and decor are real and not built-up or made-up, the lighting is natural which makes an attempt to present actuality as it is, the editing and enhancing is invincible which improves truth and the camera is free which is unrestricted and results in a far more convincing looking at.
With the storyline of the personas and the reality which is by rule brought about, I fully agree that it brings about sentiment. However, It places you (the audience) in an even more heart-felt and understanding position which I believe brings about the political statement in an even more expressive way, rather than theoretical and chilly approach. So that some agree, "it isn't even sentimental - it's just unpleasant. " (Reference point 6)
Instead of an cold theoretical way, we are introduced to a family group who are typical and by no means are gorgeous hero's - which is often seen in Classical Hollywood. To be honest, if we weren't unveiled to characters and the sentiment they bring, which are likely involved in this film, I personally don't think a lot of a political statement would be made - as one needs interest to understand a statement. The type of Ricci is the emphasis of the film, however we aren't thinking about him but rather exactly what will happen next in the film's series of events. And even though characters lead to sentiment and the viewers starts becoming attached to the role the people plays, in Bike Thieves, Bruno the son unsentimentally still criticizes his father.
In response to the representation of the politics statement manufactured in this film, we live clearly in a position to see this in recognizable views in the film. In the first field, the camera follows Ricci from the unemployment gathering to his partner where the housing project is within the background, which is fully exhibited to the viewer demonstrating the bleak conditions. We see the men and woman arguing about career and shortage of water. This focus on long and medium images which appeals to the 'fact' in the film boosts the political note due to the incidents getting exhibited on a complete - Whereas up close would bring more sentiment. Long and medium photos show the actor loosely framed in his environment and allow the viewer possibility to look around in that environment with the added improvement of the shots taken at vision level. Aswell as minimized jumps and shifts through editing and enhancing to bring more 'real life' to the movie theater audience.
Thus we see here that sentiment is not frustrating the political assertion, but rather the political statement is actually taking dominance in the images. Needless to say the neorealist have move around in for close-up's every now and then which in effect is therefore very strong but still strings over the report of the heroes and the central thing, which is required to (as stated earlier) keep carefully the audience interested rather than bored. The central object is the bicycle. They are everywhere and yet special, and the frailty of the Ricci family's position is enforced when Antonio's bicycle is stolen. Here, the thing brings sentiment to enforce the political statement, and what I find even more interesting is the way the title modified from 'Bi-cycle Thief" to "Bicycle Thieves" as ultimately it becomes a vicious circuit of survival - as you has to steal their own bike back again from the thief, therefore learning to be a thief - leading to 'thieves. '
This therefore constitutes to the note of the film, for the constant struggle of the haves and have-nots. Through the character of Antonio, It's the trust that drives him and allows him to move on in his quest to find his stolen bike. Although the directors glumness drives the plot, it is eventually the clash with individual optimism which gives the film affective electric power - and without the real human sentiment you can argue that the film would not produce affective electric power. If we look at three scenes, we're able to observe how sentiment brings power to the political affirmation.
In one picture we see Antonio and Maria trade in their bed linens. The camera steps from them and we see the loads of bed-linen behind the counter, a tacit bleak reminder of the extensive mother nature of unemployment while realizing its influence on the heart of individuals' household lives. Again we observe how realistic the lamps is and the framing is loose to include the environmental conditions to promote the political subject matter.
In another picture we see Ricci confirming his bicycle taken and is aimed by the policeman to the piles of likewise reported cases. His account and circumstances are not singular, and we see here how it is not only this family that is going through this - but also a whole lot of individuals. Thus portraying the politics message that should go beyond this family's personal sentiment. Here our company is also shown how humanitarianism prohibited Ricci from pressing established charges anti the thief, and the same moral fibre that spared him after he was caught stealing a bi-cycle. After discovering Bruno in tears, the victim realized Ricci's condition and let him go.
Such a film was essential in Italy as through this family we have the opportunity of being a bystander to the brutality of your civil war between fascists and its own on going of getting rid of and reprisals through experiencing how this effects one, and how not only effecting this family - but many others. "Italy in post-war was in need of curing and compassion even at the price tag on a perceived injustice. " (Paul Baxa, 2011) Healing does not come from the federal government and leaders of the country, but result from within the everyday man on the pavements - me and you. Thus, from the Ricci's, those being afflicted by the warfare and living within such conditions - as well as the audience looking at this film that can in lots of ways relate.
In another scene, arguably the most sentimental world - yet what I really believe portrays the political message more powerfully than any other- we start to see the father and sons romance come to a mend. It is understood with looking into the Italian family lifestyle, that the daddy and son's romantic relationship is by much the strongest and most special. Little Bruno's appearance when taking his fathers submit the last scene is merely a realistic point of life and is a means of facing life with your dad - an important part in Italian culture. With Bruno being the witness of the tragedy and lastly coming to understand his dad is not a hero after all (unlike Classic Hollywood), similar to the audience being a witness too, this arena gives off a sense of aggravation, humiliation, paradox and the majority of all - popularity to survival. These sentimental feelings therefore expresses the politics affirmation as this closing of when the father and child take hands, expresses manhood and the hardship and success one needs to proceed through with still looking for a sense of popularity.
Bicycle Thieves therefore inevitably portrayed the political statement through expressing the communal conditions without expressing alternatives. One might claim that this is a downfall, however at this moment in time - solutions weren't theoretical and when healing would occur it would have to come from individuals. Thus, this film is undoubtedly awareness that needs to be found in every individual, which will create its solution. Much like the theme and individuals inevitably building a plot alone in Neorealism. "The neorealist strategy doesn't have an inbuilt political meaning solution, as the utmost widespread feature of neorealism is; on location taking and the sensation of fact. " (Guide) - Exactly what Bicycle Thieves so effectively will. One must also remember when browsing this film in the 21st century that twenty-five percent of the Italian workforce was unemployed at that time if you were used, addressing work was by using a bicycle. The object of the bicycle thus symbolized success.
In conclusion, you can therefore justifiably argue that the sentimental dynamics of Bi-cycle Thieves does not overwhelm the political assertion but essentially improves it. When the political statement manufactured in the film was to nourish off a way of a remedy, and the answer could only be within the common individual like the Ricci's family - the other must understand the individual's situation as well as own an chance to walk in their shoes. Through sentiment that's not overly found in this film, you can see the hardship for success through the storyline of these people in order to become aware, as well as stay intrigued. Without focalizing electric power of the central figure but rather the political affirmation through the characters, this film uses "The fatality of 1 man is a tragedy, the death of millions is a statistic. " (Joseph Stalin, 1953) to it's advantages by effectively demonstrating the tragedy of individuals with indicator to the masses statistic.