Vittorio De Sica

Vittorio De Sica is considered one of the most important directors during the time of the Italian Neorealism movement which occurred after the fall of fascism in Italy. Neorealism revolves around realistic filmmaking. Rather than produce glossy films to heal the heartbreak in this post war country, De Sica and several other directors focused on the working class and how fatal the blow of fascism was. It was an artistic response to an abundance of commercial entertainment films spewing from Hollywood

Vittorio De Sica started making films in the late 1940s, with The Bicycle Thief being one of his first films. De Sica was able to capture the struggles of a particular life, but also made it general enough for a multitude of people to be able to relate to the problems the characters face. De Sica is an example of a Neorealist filmmaker with his usage of nonprofessional actors as most of his character, as he felt they provided a certain authenticity to the films. He filmed on location, using natural

Italian film published in 1948, directed by Vittorio De Sica. It gained both commercial and artistic success, and have won the Academy Award for Best Foreign Language Film in 1948. The film is famous for its neorealism that reflects the post-war Italian society. In the following essay, I’m going to discuss how did De Sica use the cinematography skills to strengthen his expressions in Bicycle Thieves, and the ways he conveys the meaning of the film. De Sica claimed a film is “reality transposed into

Vittorio De Sica was one of the most influential and talented directors of the postwar Italian cinema and known to be an important figure in the neorealist movement that changed the cinema scene not only in Italy but in Europe and beyond. Considered to be one of De Sica`s best work, Umberto D. is a fine representation of neorealism. Because Umberto D. is an author-based cinema, the audience could see that De Sica`s visions, his values of truth and ethics are embedded in it. Nonprofessional actors

Italian neorealism (1945-1953), through directors like Roberto Rossellini and Vittorio De Sica, made its trademark on cinematic history not only in Italy, but also throughout the world. It was films such as Rome Open City (Roma città aperta, 1945), The Bicycle Thief (Ladri di biciclette, 1948), and Umberto D., (1952) whose style of depicting the harsh economic and social realities of the poor and working class of Italy took off as a new cinematic style after World War II. Neorealism is a response

considered as one of the greatest films of all time. It also received different awards including the Best Director, Best Screenplay and Best Film. This masterpiece was created with $131,000 as its estimated budget. The Bicycle Thief was directed by Vittorio De Sica and was originally released in Italy on 1948 with the title “Bicycle Thieves” The film was also released in U.S on 1949 entitled “The Bicycle Thief” A man whose name is Antonio Ricci has been jobless for years and he is

Ricci: The Bicycle Thief Antonio Ricci, the protagonist of Vittorio De Sica’s Bicycle Thieves, inhabits an Italy torn apart by the Second World War. The decaying city streets and mass poverty is a far cry from the society united under communism envisioned by earlier neorealist filmmakers. De Sica uses Ricci to critique capitalism, as well to document the struggle of the masses in Post War Italy. The theft of his Bicycle sends Ricci, along with De Sica’s camera, across Rome and into the depths of Roman

Vittorio de Sica’s movie Bicycle Thieves is a global classic, that depicts post-war poverty in Rome where there is no empathy for one another. The movie belongs to the Italian neorealist genre with the basic idea of creating compelling movies out of a comparatively insignificant incident like that of a bicycle robbery which could have happened to any common man in Italy. As one may agree, movie is simple, realistic and conveys a dramatic theme. Post war Italy has a significant impact on its economy

Bicycle Thieves is an Italian film, released in 1948, directed by Vittorio De Sica. Listed as one of the top fifteen most influential films according to Turner Classic Movies (TCM), ranked number four in “The 100 Best Films Of World Cinema” by Empire magazines in 2010, also nominated for the Oscar as the Best Writing, Screen play. And awarded with the New York Film Critics Circle Awards (NYFFC) and a Golden Globe as Best Foreign Film in the 50’s. Bicycle thieves is considered one of the most influential

Water is pouring into the heavy containers to be carried by the women to their houses. Waiting in line, the women must care for their household by doing their “duty” as a mother and the necessities for survival. De Sica’s, Ladri di Biciclette, involves an essential take on female identity in post-WWII Italian society. This scene, among the other early scenes in the film featuring Maria, not only emphasize the nurturing and supportive role women were often placed into, but also the dominant role women