Bicycle Thieves Themes

This story was written, charmingly, in an unorthodox, yet loving manner. Rich with reality, the novel, led me into the atrocious, but true, glimpse into the world at the time. The phrases and paragraphs, struck me, illustrating the spliced lives of the protagonists, through complex, evocative, at times ethereal, imagery. The plot, progressive, and compelling, is profoundly sad, touching and uplifting. Flowing at a fast-pace, the plot, is a genuine page-turner, of which brought sadness in me when a disaster stroke, or warmth, when the characters embraced their connections to each other. The story covering the effects of hunger, war, prejudice, love, hatred, friendship, deception and growth, through its character development, cleverly stayed faithful to the plot, throughout. The characters, executed flawlessly on the author’s part, though not superficial, were tragic, and believable. The interwoven lives of these characters are complex, inspiring and perturbing. Being memorable, the characters had great prose, and development in the story. In the Book Thief, the use of Death as the narrator, persistent use of unintentional humour, was quite unique. Personally, I enjoyed Death’s utilization of dark, unintentional humour, as it ironically, lightened the saddest of

“Thief” shows the reader what happens to Babe after the fire but also introduces new characters, Billy and his mother. As the story begins, Billy and his mother arrive at their house being robbed. Very quickly, Billy’s mother finds a woman and it emerges to be Babe. Although, robbery was committed, Babe was given a second chance. Once settled, all the characters give a backstory to each other. Billy, at birth, has had a hole in his heart and his mother raised him by her standards. She took no chances at Billy missing any medical treatments. Billy, however, sought independence after years of unwanted assistance. Billy “accepts his wheelchair” (Silver 94) as if it were his legs and his mother was “like a worried airplane passenger who valiantly stays awake to support the unaware pilot” (Silver 94). Silver introduces a new version of loss, selfishness and independence. Billy was being controlled by her mother, but she desired a safekeeping for him. The mother was being selfish that she did not think about what Billy had wanted. Eventually, Babe’s actions reflect what she has been through in “Babe in

This world is amazing because everyone is going to a hell-like war every day to make a living. That means we need to be fed, warm, and happy to live. Once we are forced to live in extreme circumstances with limited necessities, then the real colors that we unknowingly keep hidden inside of us are revealed in a blink of an eye, and it can be hazardous. For this essay, I am going to write a theme on survival from David Benioff’s novel, City of Thieves, because the story illustrates a ruthless image of drastic measures that must be taken to survive the brutality of the war. First of all, I am going to write a summary of City of Thieves to get a better understanding of what is happening in the novel. Second, I will write the

As Antonio is forced to develop into a more independent and well-informed young man, he must come to terms with the harsh realities in the outside world from which he was shielded during his early childhood. He encounters the truth behind what happens at Rosie’s—while he has always been told that Rosie is “evil, not evil like a witch, but evil in other ways” (34), he does not learn of the nature of that “evil”—and that his brother is partaking in it (165); Antonio even begins to have dreams that are far more “intense” than any he has previously experienced (70). Antonio must also confront the reality of the hardships of loss, as the people around him with whom he is acquainted—and even those he loves—die at the hands of others. This is particularly important in Antonio’s exploration of religion, as he begins to question why an all-powerful God would allow his loved ones to die, and why such a deity would not sentence those who killed them to hell (186). Antonio’s loss of innocence is finally and forcefully demonstrated at the end of the novel, when he speaks to his mother “as a man,” commanding her to take the younger (and still “innocent”) children inside (269). This is doubly important, as it demonstrates not only that Antonio has lost enough of his innocence to be speaking “as a man,” but also that he recognizes innocence in others and strives to protect them from what he has

In the film The Bicycle Thief the audience is able to witness all the elements of neorealism. The use of non professional actors, to low class working characters, the flattening of scenes, and the location where it was shot at; are just a few of the essential elements that can be found in this film along with copious neorealist films. It is clear that the director used a variety of shots, angles, and set-ups in order to create certain emotions at very specific scenes in the film. From the start we are able to obtain a feel about the film’s tone as a result of the lack of color. The use of black and white truly helped the audience experience what Italy was like during the post World War 2. As a result of the depressing post war we are able to detect how the act of trying to improve oneself can sometimes lead to desperation.

The Book Thief Analysis Essay “Life is like riding a bicycle. To keep your balance, you must keep moving.” This quote said by Albert Einstein shows what life is like. At one point in life everything could be terrible and then another time it could be great.

While his mom argued it would be best for him to become a Luna and be connected to the Earth, his father’s side argued that the Marez blood inside of him would compel him to become a vaquero, free to roam the grassy plains and not being shackled by anything. His dream encapsulated the idea of his thinking and identity being imposed on him literally from birth. A child’s mind is like clay that can be molded in an infinite amount of directions. The absolutely worst thing a person could do to this flower of growth is to put it in a box that restricts it from germinating on its own. The only saving grace that Tonie found in this dream was Ultima, who eloquently scolded both sides of the family in saying that only she knows what Antonio will become in life. This concept of Antonio’s parents tearing him apart from either side and Ultima giving him the peace of mind of his own critical thinking is a recurring theme. As Antonio’s mother and father were simultaneously attempting to pull him to completely opposite shores of happiness, they created a chasm of uncertainty that Antonio had become very susceptible to crashing through.

Antonio’s mother, Maria Marez, represents the drive towards farming, the priesthood, and education in Antonio’s characterization. Maria is a very religious woman and she ensures that Antonio shares the same customs and beliefs, Antonio describes her faith by stating, “A community of farmers ruled over by a priest,

Another theme that deals with Antonio more directly is the conflict between both sides of his family, his mother and his father’s. Antonio’s mother is a Luna, her people are more devoted to the “campos,” the earth, the moon and they are calm and peaceful, while his father

Antonio’s mother Maria provides a solid foundation for Antonio and his emotional life through her faith and tolerance, which shapes who is. She is a more understated character in the book, yet she has a crucial role in Antonio’s development. Maria introduces religion to Antonio, which helps him grow into his own person. As the book progresses, Antonio is fascinated by religion and thought, “School work was dull and uninspiring compared to the mysteries of religion. Each new question, each new catechism chapter, each new story seemed to open up a thousand facets concerning the salvation of my soul” (204).

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

While Rossellini’s Rome Open City portrays the struggle for freedom, De Sica’s Bicycle Thieves tries to find the human face. He discovered it not in the exceptional sorrow of war but in the misery of daily life where war is just one aspect of the human lot. Bicycle Thieves takes place at a specific time under a unique series of social conditions that shape both its narrative and its embrace of the Neorealist style.

	Another fine example of neorealism is The Bicycle Thief (1948), written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film unfolds in post-W.W.II times. The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect. It is a time of struggle for the Italian people, amplified by a shortage of employment and lack of social services. In the first scenes of the film, these conditions are evident as Antonio Ricci (Lamberto Maggiorami) meets his spouse Maria (Lianalla Carell) on his way back home. We see the "men" arguing at the employment "office" as the "women" argue about the shortage of water. Although the director's

Set in the depression times of post-World War II Italy, Graziadei and De Sica’s (1948) The Bicycle Thief narrates the story of Antonio Ricci (Lamberto Maggiorani), who, after finding a job as a bill poster, loses his bicycle to a young thief. He tries to look for it with his son Bruno (Enzo Staiola); however, despite seeing the thief, he fails to recover his bicycle. Desperate, he tries to steal a bike himself but is easily thwarted by a group of bystanders. They plan to bring him to the police station until the owner notices the weeping Bruno and, in an act of compassion, ask others to release the thief. In this paper, I argue that The Bicycle Thief

In Italy, directors focused on the moral and economic conditions that came with the postwar generation quickly after the war and addressed the war instead of not acknowledging as German cinema did for so long. Unlike Alice in the Cities and The Bitter Tears of Petra von Kant, films such as Bicycle Thieves depicted dislocation during the postwar period in the Neorealist style, made in 1948, this film differs greatly from the two former films discussed. In Bicycle Thieves, Vittorio De Sica delivers a political message regarding the difficulty of survival in postwar Italy, but also conveys a sense of psychological dislocation through the character development of Antonio Ricci. In many ways, Italy’s economy is much to blame for Ricci’s two-year unemployment in which the film begins, however, Ricci has as many internal struggles as he does externally. Neorealism lies heavily on the depiction of real life problems depicting common people and often used people from the street as actors, in this film the man who played Ricci, Lamberto Maggiorani, actually was a factory worker, which helps solidify the film’s authenticity. Towards the end of Bicycle Thieves, Ricci’s efforts to retrieve his stolen bicycle fail when the people that live near the boy who stole it side with the epileptic boy as he has a