Bicycle Thieves was my first experience with the genre of Italian neorealism. Like most of the Italian public at the time of the film's release, I do not have a background in Film and Media studies. Therefore, I can understand why "Bicycle Thieves" (like most neorealist films) did not climb to the top slot for box office sales during the 1940s and 50s. Unlike the American exports that dominated the Italian market, Bicycle Thieves presented a realistic portrait of everyday life in Italy.
While watching the film, it became clear to me that I was not a member of De Sica's intended audience. He aimed to make an impression on the Italian citizens of the postwar period, portraying experiences to which they could relate. This audience was composed of individuals that had been primed to crave truth and realism, as they had been force-fed a false reality by a fascist government for a significant portion of their lives.
Though documentary films have grown in popularity, in the era of "fake news," it is difficult to place trust in any purported illustration of truth. I feel that the modern American viewer is inclined toward more fantastical films. Americans work long hours and come home to witness the horrors of life in the contemporary era (e.g. mass shootings, terrorism) documented and dissected in extreme detail on the news. Accordingly, I believe that the public hungers for a quick laugh and/or an escape from the frightening realities of contemporary life.
I found "Bicycle Thieves" to be artistically and aesthetically impressive, but I was not majorly impressed by its plot. I came of age in an era dominated by films packed with twists and turns (sometimes excessively so) and special effects bolstered by tremendous budgets. However, from hereon out, I will try to view films without a prior conception of what elements must be present for a film to be considered "good."
I do agree that Americans have been conditioned to enjoy films that are marketed as complex and entertaining. Although "Bicycle Thieves" comes off as a simple film, it's rich in symbolism and themes. The bike itself has multiple meanings. For instance, the bike represents financial power. Thus, the absence of the bike throughout majority of the film represents Antonio's financial status.
ReplyDeleteMovies such as "Bicycle Thieves" were not meant to cater to Americans in any particular point in time. These movies serve as a reminder of the censorship and suppression of ideas during and after war. The only thing we can do is appreciate, empathize and learn from these neorealism movies.
I agree with the assessment that Bicycle Thieves caters to a post-war Italian audience, and may not satiate Americans’ appetite for fantasy. However, certain themes presented throughout the film resonate with American culture in both the mid-20th century and today. Central to De Sica’s film is the notion of mobility—both physical and economic. Rossi’s bike serves as vehicle for literal movement through the city, as well as a means to support his family. Though somewhat unrelated, the popularization of American suburbs in the 1950s and (subsequent) work-related commute are not dissimilar from the Italy De Sica portrays. In both countries, one’s livelihood depended on infiltrating and navigating a city, despite the dangers such a commute would beget. A man’s worth, as Antonio demonstrates, is closely related to his independence and ability to roam. Though patently an Italian film, Bicycle Thieves communicates a message pertinent to any urban audience, American or Italian.
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