Every-day life (unemployment/poverty) in post-war Italy is brought to life in this classic neo-realism film, The Bicycle Thief. The deep-focus composition of the film allows the viewer to easily sympathize with the main character, Antonio Ricci, as he struggles to maintain the ‘bread-winner’ role, the unity/welfare of his family, and preserve his son’s praise as a fatherly role model.
The director’s choice to cast ‘nobodys’ in his film really seals the realistic humanistic and social nature of the film for that specific period in Italy. The cinematography is beautifully constructed with long close ups, moving rain shots, and a cinema verite’ touch. The irony toward the end is terrific when Ricci, himself, becomes an actual Bicycle thief. This scene is constructed so dramatically fit (music and all!) as it cuts back and forth from protagonist to the stadium/bicycles and back to the protagonist. The frustration and emotion pours from the scene, and forces it upon the audience as we eagerly watch and identify with Ricci.
Word: Shibboleth (pg. 588)
Shibboleth: is any distinguishing practice which is indicative of one's social or regional origin. It usually refers to features of language, and particularly to a word whose pronunciation identifies its speaker as being a member or not a member of a particular group.
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