The Realism of Bicycle Thieves

Vittorio De Sica’s Bicycle Thieves (1948) is a film that is imbued with hardship, family and, most importantly, reality. It is not a documentary but feels like one as we seem to follow Ricci (Lamberto Maggiorani) in real time around Rome, from his initial appearance from the crowd followed by employment to the stealing of his bike and the subsequent search for it with his son Bruno (Enzo Staiola). The film epitomises the new style of Italian Neorealism with its on-location shoots, use of non-professional actors and handheld/eye-level camerawork and shots. It often explores socially significant themes and allows for the organic development of situations to unfold. As viewers, we become absorbed into the action and the world created feels so much deeper than the one merely shown on screen – grounding the action and emotions.

Bicycle Thieves (De Sica, 1948)

It is interesting to see the correlation that world cinema has with realism. It seems a stylistic choice, but we are aware that they had to use location shooting because studios were closed. Similarly, the French New Wave used predominantly handheld shots because they could only use equipment that was available to them, and they didn’t have funding as they were all new to the industry. Similarly, non-professional actors are cheaper to work with and it soon seems that realism was less of a conscious choice. Nonetheless, the story is still heavily ingrained in reality, while the mindset of the world predominantly has a different approach to the mainstream of Hollywood. It seems that world cinema is far more upfront in confronting social issues, whilst Hollywood has more of a desire to brush it away and provide escape to its often-casual viewership.

The relationship Bicycle Thieves has with Hollywood allows a distancing to take place to help further create a valid world. Ricci hangs posters of Rita Hayworth, and this reflexivity creates a sense of them and us. Hollywood is displayed as what it is – artificial, and De Sica’s world is shown as real and situated in the present. Even in the climax of the film, we witness Ricci as he contemplates and thinks about the consequences of his actions, there isn’t just an impulsive daredevil decision, often seen in other Hollywood films at the time. Cary Grant was originally set out to play Ricci, which would’ve defeated the whole point of the common man. Ricci is a nobody that emerges from a crowd and disappears back into one. His problems aren’t unique and with Cary Grant this just wouldn’t have worked, instead De Sica managed to imbed the film with authenticity, as Ricci seemed to exist before the film and will continue to exist after. It has a relatively sad ending as it seems as if nothing has been achieved in the hour and a half that we’ve invested into Bicycle Thieves. However, this harks back to the everyday nature and authentic actuality that the film does so well to present. We don’t all get to fall into the arms of Clark Gable, escape a near death experience at the hands of James Mason, or fall in love with Grace Kelly.