The Bicycle Thief By Antonio Ricci

The Book Thief, written by an Australian author, Markus Zusak, is a devastatingly powerful historical-fiction novel that bears several re-readings. Being one of the greatest, most divinely-written epilogues in my school library, The Book Thief, is a soul-shattering, thought-provoking story that undoubtedly can be recommended to the young and old alike. This poignant, prolonged, but achingly sad book, is the pinnacle of contemporary historical-fiction, poised to become a classic. Phenomenally breathtaking, and inspiring, bringing nothing but anticipatory dread, this lyrical, surreal book, though depressingly morbid at times, was my “gateway” to historical-fiction. The tribulations and trials provided in the novel, had inevitable passion, perspective

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 (2013), directed by Brian Percival, is about a young old girl living in Nazi Germany (between 1939 and 1943) in the fictional town of Molching, Germany. Death narrates the story of the main protagonist, Liesel Meminger, beginning when she is nine years old and suffering from the death of her brother and separation from her mother. Liesel then goes to live with Hans and Rosa Hubermann (played by Geoffrey Rush and Emily Watson). When Liesel arrives, she is illiterate and is made fun of in school by the other children. Hans, a painter and accordion player, teaches her how to read, using the book Liesel took from her brother's burial: The Grave Digger's Handbook. Over the course of the movie, Liesel develops a love for reading and decides to steal books because of the economical hardships associated with World War II. Liesel's foster parents also decide to help a young Jewish man named Max, whose father fought with Hans as in World War One as German soldiers. The Book Thief illustrates a different perspective in regards to the Nazi Regimen and its effects on the German people, specifically children.

Bicycle Thieves is considered an example of Italian Neo-realism. The plot demonstrates Italians of the working class in Italy and unfolds their day to day lives. One could argue it portray the reality and develops into an emotional storyline towards the end. Antonio, the main character is offered a job requiring a bicycle and on his first day it was stolen on the streets. You immediately feel drawn to the character as you want to see a happy ending. Watching the film, automatically feel sorry for him as he’s got no money and needs to make a living as soon as possible for his wife with two children to support. From the close ups and observational shots it clearly shows he is desperate as Antonio and his son Bruno go around searching for it

The Book Thief by Markus Zusak is a story set in Germany during World War 2. This novel follows the life of Liesel Meminger, a girl who develops greatly. With Death as the all knowing narrator of the story, the reader has the ability to see various perspectives. It tells the story of oppression, portrays the power of words, and shows the human ability for kindness or cruelty. I chose to do option four, in which I have chosen important sections from the novel.

Liesel most definitely could have trusted Rudy with the secret of having Max hidden in her basement. Rudy was clearly Liesel’s best friend and partner in crime when Liesel was doing her acts of thievery stealing the books from the mayor’s wife bookself. The devotion to Liesel Rudy also had was strong and I believe Liesel could have trusted Rudy.

Bicycle Thieves gave viewers a clear view of crisis of masculinity within Antonio and this was further highlighted with the presence of a protagonist child in the film. In the film we see Antonio’s struggle to save his expected capability to provide for his family as a man (Ruberto & Wilson). However, the fact that Bruno was employed at the time Antonio got himself a job pointed out his incapability as a man and viewers starts to see Bruno as a small man rather than just a child because he was seemingly adequate

To Catch a Thief follows John Robie (Cary Grant), a retired jewel thief formally known as "The Cat." When another burglar copies his old burglary techniques,

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.

Words can influence the mind in many ways that thought may not be able to. They are carefully placed and shared in different ways by each and every individual. Words have powerful impacts and can majorly impact how one may think, feel, or even lead others to feel. Written by Markus Zusak, “The Book Thief” describes a story of an innocent foster girl, Liesel Meminger, who resides in Munich, Germany at one of the most troubling time periods in history, Nazi Germany. A tale narrated by the one and only Death himself, shows the perspective from his point of view, as well as others, describing how Liesel had been seized away from her birth mother at a young age, and put into a foster family. Her new family, the Hubermanns. As she matures and grows into a more critical thinker, understanding and analyzing everything that carefully happens around her. Her foster-father, Hans guides her and teaches her how to read, which little does she know sparks her journey, the art of stealing books. Liesel soon discovers that words aren 't simply lines on a page, they are strong emotions packed into a form that merely is held in her delicate hands. Not only did she hold the pages of emotion, she held a power, a dangerous weapon of words, a weapon of control, and every book that she had stolen was giving her unimaginable power that made her think in ways that she would’ve never thought she could have. As with Nazi propaganda, and a gift that enabled her to broaden her worldview. Liesel evolves

	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

The Bicycle Thief is a deeply moving neo-realist films of the 1940’s focused on the state of Italy in the aftermath of WWII, which depicts one man’s loss of faith and his struggle to maintain personal dignity in poverty and bureaucratic indifference. The director use neorealism in this film to show the working class life, set in the culture of poverty, and with the implicit message that in a better society wealth would be more evenly distributed. The majority of the movie is focused around the bicycle. The main character Antonio Ricci is having a hard time finding a job but all of that changes after he own a bicycle, which was later stolen. Joined by his son Bruno, Antonio struggles to find his bicycle and tries to still one, eventually resorting

Perhaps no other character in Bicycle Thieves (De Sica, 1948) transforms as subtly as Bruno (Enzo Staiola), the motormouth son of Antonio (Lamberto Maggiorani). Conveyed primarily through performance, Bruno’s converts from a hard-working fast-talker with an affinity for mozzarella sandwiches to a silent, weeping witness as his father is driven by despair to commit the same crime that threw their lives into chaos. Despite not appearing until the film’s fifteen minute mark, Bruno assumes the role of the primary supporting character and his reaction to the events of the film becomes a metric by which to weigh the ramifications of Antonio’s descent into despair. At the beginning of the film, it’s established that Bruno has a keen eye for observation;

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