Bicycle Thieves

Bicycle Thieves by Vittorio De Sica utilizes many techniques and cinematic language aspects in order to make the audience feel some type of way. The entire film revolves around the question of whether it is morally right for Antonio to steal the bicycle. The film takes us on a journey through the use of neorealism and forces us to distinguish if we should empathize with Antonio or not. Neorealism was one of the most popular movements seen during this time throughout Italian cinema. Some characteristics that are used to describe it are the use of pathos, polarities, long shots, non professional actors, natural lighting, and the struggles of the common man. Many of these characteristics can be seen in the most pivotal scene of the entire film in which Antonio actually steals the bicycle. De Sica particularly uses a long shot which hinders the audience from seeing the expression on his face. The scene is also shot very slowly and forces us to watch Antonio’s every move and what he could possibly be thinking. Not only that, but the natural lightning allows us to also focus on his every move and how internally hesitant he really was in the moments leading up to the physical stealing action. This hesitancy and uncertainty within his actions lean me towards believing within myself that Antonio stealing the bicycle was in no doubt morally wrong. It almost leads me to believe that the way an individual responds to the film is an overall test of morality within themselves. If an individual is so quick to sympathize and believe that the act was morally right without thought then maybe the individual should reconsider how they go about and make decisions in their life. De Sica does a superior job of incorporating traits of neorealism and getting the audience to critically and introspectively think.