Set in post-World War II Rome, the movie opens with a group of men waiting to hear what jobs are available. The movie's main character is up for a job posting posters throughout the city, the only glitch is that it requires a bicycle. He says he can get one, with that he pawns his family's linens to acquire a bicycle so that he can support them. During his first day on the job his bicycle is stolen. The movie progresses a few days while the man and his young son comb the streets looking for the bicycle and the thief. He finds the thief, but without proof or witnesses they are unable to do anything. After wandering around without any luck, he and his son end up outside of a packed soccer stadium with a sea of parked bicycles. In what becomes an agonizing decision he attempts to steal a bicycle but his caught while his young son looks on in pain.
Very moving, it seemed so real, kudos to de Sica. You really begin to feel the emotions of the characters after the father returns home after his bike has been stolen. When he left he was so full of confidence and pride, yet that one act of having his bike stolen almost destroys him. Watching his character deteriorate as the film progresses is phenomenally sad, how he begins to treat his son differently as the two of them search Rome for the bicycle.
One of the other elements that I liked was the use more of a sepia tone as opposed to Technicolor which was becoming very popular at that time in cinematic history. This technique gave a grittier feel to the movie, gives the viewer more a post-war Rome feel to it. Making the viewer realize the harsh realities of the bombings that took place before the war was ended.
In the scene from Vittorio De Sica's Umberto D. shown in lecture, there are many factors to support that it is in fact of the neorealist genre of film. ... Vittorio De Sica included many elements to support neorealism film. ... De Sica also decided that the film would be shot using fast stock film so that less lighting was needed to obtain the desired shot as well as providing the grittier feel. ...
Religious Symbolism in Alberto Moravia and Vittorio De Sica's Representations of Two Women. ... In 1960, Vittorio De Sica adapted Moravia's novel and directed Two Women, a film that filters reality through religious symbolism. De Sica created a version of neo-realism, linking the material poverty of war stricken Italy with the spiritual loneliness of its inhabitants. Both Moravia's and De Sica's artistic representations of Two Women depict lost purity and innocence, and the subsequent intense suffering of characters confronted with the reality of a world so different...
Moreover De Sica and Zavattini dedicated six months to prepare and discuss pre-production, paying attention to the script, the location and every single detail, such as the intricacy of the story or any scenic particular9. ... Marcus also points out that De Sica's aesthetic choice is not taken casually. ... Consequently I do not believe that realism is purely a matter of style, since De Sica's purpose was to create something not only realistic, but also different, thus giving the viewer something entirely fresh and unconventional. ... De Sica achieved audience's admiration bec...
Another well-known Neorealistic director was Vittorio De Sica. De Sica, born in Sora, started his career as a singer and actor during Fascist Italy. ... De Sica addresses the social theme of poverty and unemployment. ... De Sica won an Academy Award for this film. ... Rossellini, De Sica and Visconti all created masterpieces that are still viewed and studied today. ...
Yo tengo una programa de M sica Cristiana. ... Durate el verano, Yo fui las muchos conciertos de M sica Cristiana. Yo escuchaba mucho tipos de M sica Cristiana. Yo recibaa mucha informacion de las bandas de M sica Cristiana. ... Cuatro hombres en la banda tienen muchos talentos de m sica. ...
La balada del café triste es a la vez una m sica en su lectura, , una m sica de tristeza de soledad, una m sica de viento y desierto, una m sica de frÃo y de nieve que se derrite. ... Es una historia de todos los dís, es una m sica de todos los dís, es la tarde y es el sol y es el mismo agosto de siempre. La m sica, como una Balada, como después de la historia de un café, después de la soledad y el olvido y la traicion triste, una m sica sombrí también a unas cuantas millas del pueblo. ... La vida es una m sica entremezclada de trist...
In Vittorio De Sica's, Bicycle Thief, Pier Paolo Pasolini's, Mamma Roma, and Roberto Rossellini's, Rome, Open City, each filmmaker uses humor to evoke emotion and bolster his view about the absurd nature of extreme class distinctions in post WWII Italy. ... This use of comic relief reinforces the display of economic conflict between the classes in De Sica's and Pasolini's films, and political conflict in Rossellini's film. Vittorio De Sica deviates from his grave and serious expressive strategy of portraying a desolate and devastated country by...
It was a creative response to the violence and economic hardship caused by fascism. ... It avoided neatly plotted stories in favor of loose, episodic structures that evolve organically but however still had a clear cause and effect chain. ... Other progenitors of the movement include Federico Fellini, and Vittorio De Sica. ... Though "Rome, Open City,"" introduced the world to Italian neo-realism cinema, its most renowned and critically acclaimed film would be Sica's "Bicycle Thieves"." ...
It was a creative response to the violence and economic hardship caused by fascism. ... It avoided neatly plotted stories in favor of loose, episodic structures that evolve organically but however still had a clear cause and effect chain. ... Other progenitors of the movement include Federico Fellini, and Vittorio De Sica. ... Though "Rome, Open City,"" introduced the world to Italian neo-realism cinema, its most renowned and critically acclaimed film would be Sica's "Bicycle Thieves"." ...