The lovers hatch a plan to murder Bragana but events spiral out of control. However, Visconti had developed more ambitious plans. Although the film had moved into the realm of fiction, Visconti retained many documentary elements, including having his entirely non-professional cast speak in their own dialect. Its final passage, with an isolated Edmund walking across the skeletal landscape of Berlin, remains one of the most extraordinary sequences ever committed to film.
Just by looking at the story, you can see how the film is a great example of neo-realism, for the film has more of a story than a plot. There is much more to the film than a man just searching for his bike.
This theme is easily summarised through the opening and closing shots of the film, where we see Antonio caught up amongst hundreds of people, who all appear to be in the same boat as him.
The fact that we see more story than plot comes down to the fact that Neo-Realist films have little editing, providing real continuity. For example, there is a shot in the film of Bruno using the toilet, a shot that was perhaps unnecessary to the story but necessary in conveying the realism of the film, showing how Bicycle Thieves is an ideal presentation of Neo-Realism.
The film includes characters that the Italian people of the time could relate to, and placed these characters into situations that people could also relate to. The importance of a bike to Antonio could mean nothing to us living in the developed world of the 21st century.
However, we need to place ourselves in the context of the period. The film is set in a period when mechanical transportation was rare and expensive Bazin, All of the characters actions and reactions mirror that of regular people.
Pierre Sorlin in his book Italian National Cinema: We only see his immediate, erratic reactions. Therefore, Bicycle Thieves is an ideal example of neo-realism. Through having more of a story than a plot, as well as placing real characters in real situations and having them deal with themes such as human suffering, we can see that Bicycle Thieves is an ideal presentation of neo-realism.Italian Neorealism In Bicycle Thieves.
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- The Occupation. Paris during the Second World War was a dark city. The blackout imposed by the occupying German forces meant that lights had to be turned off, a shortage of petrol kept cars off the road, while a curfew kept most people off the streets at night.
Bicycle Thieves (Ladri di biciclette) (The Bicycle Thief) [ NON-USA FORMAT, PAL, Reg Import - Australia ]/5(). Film theorist Andre Bazin in his essay Neorealism and Pure Cinema: The Bicycle Thieves (Bazin, ) defined Bicycle Thieves as “pure cinema it tells a simple story composed of real events involving real people in real places.” This is another way that the film can be seen as an ideal example of neo-realism.
The film includes characters that . How is the character related to the physical and/or social environment in The Bicycle Thieves. In an attempt to shed light on the relationship between art and realism in Italian Neorealist film, Andre Bazin wrote the article “An Aesthetic of Reality”, analysing one of the most contentious subjects in the study of film – how a director can create a piece .
Italian neorealism was the first postwar cinema to liberate filmmaking from the artificial confines of the studio and, by extension, from the Hollywood-originated studio system.