The Bicycle Thieves
The devastation of WWII brought terrible destruction to all nations involved, but especially brought hardship to Italy. Fortunately, hardship is a great inspiration, and the war bred many great artistic pieces. Among them was The Bicycle Thieves (1948, Vittorio De Sica), which took one man’s trouble in finding his lost bike as a mere slice of the greater tragedies which were occurring everyday in Rome due to the wrecked economy. The picture broke many traditions of film to date, but in a somewhat playful way, without somber or depressive tones. Postmodernism, the movement in which unorthodoxy and bizarreness were encouraged, therefore is the most accurate denomination to give to this film. The Bicycle Thieves uses postmodern structures and motifs and breaks tradition in characteristic,
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However, it still retains that more lighthearted side of cinema with little bouts of humor, subtle use of irony and even a spirited musical score. The scenes where Antonio gives up his beliefs and visits the Santora, or when the audience knows the thief had stolen the bike while all the characters deny it both demonstrate irony, and the scene where Bruno goes to relieve himself by the curb demonstrate humor. The boundaries of convention are therefore not broken by a confounding, emotional, mystifying plot, but instead by a certain level of mockery and off-beatness that, without obscuring the film or it’s purpose, breaks traditions of old art and film. The Bicycle Thieves also doesn't use its tragedy in a way that stirs disregard or contempt for humanity, but instead confuses and obscures morals. There are no feelings of hatred or disdain for Antonio or the thief after though both steal bicycles; we maintain a strong faith in humanity after the credits roll, despite the tragic circumstances of the film. Antonio even has a moment in which he displays a cheerful disposition and resolves to not allow the bicycle theft to destroy his outlook. This occurs when Antonio
However, it still retains that more lighthearted side of cinema with little bouts of humor, subtle use of irony and even a spirited musical score. The scenes where Antonio gives up his beliefs and visits the Santora, or when the audience knows the thief had stolen the bike while all the characters deny it both demonstrate irony, and the scene where Bruno goes to relieve himself by the curb demonstrate humor. The boundaries of convention are therefore not broken by a confounding, emotional, mystifying plot, but instead by a certain level of mockery and off-beatness that, without obscuring the film or it’s purpose, breaks traditions of old art and film. The Bicycle Thieves also doesn't use its tragedy in a way that stirs disregard or contempt for humanity, but instead confuses and obscures morals. There are no feelings of hatred or disdain for Antonio or the thief after though both steal bicycles; we maintain a strong faith in humanity after the credits roll, despite the tragic circumstances of the film. Antonio even has a moment in which he displays a cheerful disposition and resolves to not allow the bicycle theft to destroy his outlook. This occurs when Antonio