Ladri di Biciclette (The Bicycle Thief) (Bicycle Thieves) (1949)
Average Rating: 9/10
Reviews Counted: 53
Fresh: 52 | Rotten: 1
No consensus yet.
Average Rating: 8.6/10
Critic Reviews: 12
Fresh: 11 | Rotten: 1
No consensus yet.
Average Rating: 4.3/5
User Ratings: 32,509
This landmark Italian neorealist drama became one of the best-known and most widely acclaimed European movies, including a special Academy Award as "most outstanding foreign film" seven years before that Oscar category existed. Written primarily by neorealist pioneer Cesare Zavattini and directed by Vittorio DeSica, also one of the movement's main forces, the movie featured all the hallmarks of the neorealist style: a simple story about the lives of ordinary people, outdoor shooting and
Dec 13, 1949 Wide
Dec 8, 1998
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The work of screenwriter Cesare Zavattini, director Vittorio De Sica, the nonprofessional actors, and many others is so charged with a common purpose that there's no point in even trying to separate their achievements.
Undeniably the most important neorealist film after Rossellini's Open City.
De Sica carefully balances a generally tragic sensibility with a quiet undercurrent of hope, all the while sucking us into the story with the sheer urgency of the search for a stolen bicycle.
This film manages to appeal to the better angels of our nature in a way that only deepens as we grow older along with the film.
It's a title you simply must watch, not necessarily for the truths it packs but rather for the bombed-out buildings of postwar Italy, peripheral details that director Vittorio De Sica insisted on.
The Bicycle Thief does have a certain ramshackle simplicity, quietness, and even naivete that are not unwelcome as a change from the stunning noise, ingenuity, and sophistication of Hollywood.
...captures, in elemental strokes, the crushing of the human spirit at the hands of poverty, indifference and despair.
[VIDEO ESSAY] Vittorio De Sica advanced Italian neorealist cinema in 1948 with a modest story about a family man trying to get back the bicycle that was stolen from him.
One of the highlights of Italian Neo-realism and a landmark of humanist cinema, Vittorio de Sica's film won the best foreign language Oscar
Enzo Staioli is an absolute revelation as son Bruno. With a mop of irrepressible hair that even a downpour of rain cannot long suppress, Bruno is a 7-year-old fellow pilgrim and witness to the joyous and heartbreaking events - the film's silent narrator.
Suffice it to say that if you've never seen The Bicycle Thief you're deficient in your appreciation of what film can do and you should not let the chance to see a newly struck print pass you by.
It's refreshing to actually watch the film and remember how delightfully easy it is to watch.
One of the great, perfect crystalisations of a specific point in time into a particular film, this is one of the greatest cinematic experiences ever.
Yes, it's a titan in the annals on cinema history, but more importantly this is a profoundly moving allegory that balances the grimness of its characters' plight against some of the period's most elegant visual poetry.
Bicycle Thieves is a postwar classic from the school of Italian Neo-Realism.
Audience Reviews for Ladri di Biciclette (The Bicycle Thief) (Bicycle Thieves)
- Bajocco: By the way. What marc was it?
- Bruno Ricci: A fides. Frame number: 12033
- Antonio Ricci: Bruno!
- Antonio Ricci: Thief! Thief! Stop him!
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