The fact that many filmmakers consider it one of the greatest films of all time, topping #1 in the Slight & Sound magazine of the British Film Institute can be weird for some. The story is depressing, kills hope, and shares with children that growing up is not fun. The film’s title itself, “The Bicycle Thieves,” serves as a constant source of anxiety for the audience, seeing a bicycle could be stolen or loss by many people.
“The Bicycle Thieves” (1948), directed by Vittorio De Sica gave a path for Cinematic Neorealism to stop using glittery production studios and show the lives of gritty, down-upsetting life of Italians after World War II. De Sica skillfully captures the desolate streets, the bustling junk markets, and the children substituting toys with rocks, immersing the audience in the harsh reality of the impoverished Italians. By showcasing the physical fear and deprivation faced by the characters, the film elicits a deep sense of empathy and raises questions about the inherent injustice embedded in societal structures.
The bicycle, a seemingly ordinary object, holds immense significance for the protagonist, Antonio, for his employment and the hope for his family’s future. However, beyond its material value, the film focuses on the power dynamics ONLY TO ANTONIO AND HIS FAMILY AS BICYCLE = JOB but to the rest of the world for the rich and middle class, who can buy cars, doesn’t see it that way. Antonio, even says, “What’s the point of reporting it (his stolen bike)?” When the police have a lack of empathy and don’t do anything because FOR THEM ‘it’s only a bike.’ At one point, the endless walking is a reminder of Antonio’s failure that he is not a good father, or breadwinner and the cycle of hope for the poor will only become poorer.
In Act 2, there’s a rehearsal ongoing. A man sings, “If you really love me… you’d make sure I wasn’t taken for a ride by other people,” but the audience isn’t listening. Antonio’s friend Meniocioni says, “I’m listening! People. People. Do you think I’m daft?” However, it’s clear that he’s lying and the split attention of society signifies disjointed priorities. The depiction of sexy actress Rita Hayworth in the streets is Antonio’s job: sticking her posters on walls. This scene not only exposes the juxtaposition between glamour and poverty but also alludes to the darker side of the streets, where people pay for fleeting encounters.
As what Rizal novels refer to as “split believers” the director’s topic is the priest’s split obsession with what is characterized as poor. In the scene of Antonio seeking help from the massgoers and free barber seems to not care to help Antonio because they are disturbing their masses. While they claim to understand the struggles of the poor, their actions reveal a disconnect from the harsh realities faced by individuals like Antonio as he isn’t as pitiful as the beggar.
This irony persists as Antonio catches the thief, but people defend the thief’s mental issues, shedding light on the flaws within the justice system.
Left to himself, Antonio is not much of a hero. As the narrative unfolds, the audience witnesses Antonio’s descent into desperation, culminating in his failed attempt to steal a bicycle himself and his son encounters him stealing. The bystanders are ready to hand him over to the police, but their pity shifts to his young son, Bruno crying, highlighting society’s tendency to prioritize certain individuals over others.
While some may argue that “The Bicycle Thieves” snubs the poor in a negative light, it is, in fact, a poetic exploration of relatability. Poverty remains an enduring issue and people’s dreams of a better life are often shattered by the unpredictability of circumstances. Antonio, like anyone else, dreams of a decent life, and the film gives a chance for people to reflect on their capacity to feel empathy for someone else and the importance of characters being complex when they’re down, they can say, “Fuck! Let’s get a pizza…” (but ends up getting a side dish)
