Bicycle Thieves and Neorealism

Italian neorealism is a film genre featured in documentary records, location shooting, long shoots, and non-professional actors (Wagstaff, 2018). Those films capture the harsh realities of life in the aftermath of World War II. 

Bicycle Thieves, one of the most representative movies of Italian neorealism, tells a story about the life of a working-class family under physical, financial, emotional and spiritual stress. Against the historical background of severe economic depression, the story unfolds. In 1948, Italy was faced with a high unemployment rate. During that period, citizens in Italy continued to suffer shortages in transport facilities. Losing bicycles was the norm rather than the exception. The protagonist, Ricci, loses his bicycle and sets off to find it with his son.

 Documentary records

The traditional film narrative mode includes a beginning, development, climax, and ending. The narrative mode adopted in Hollywood involves units of information, and the prime task is to explain the former plot and move to the following one as quickly as possible (Keohane, 1986). However, neorealism films develop narratives naturally, and thereis no particular storyline in neorealism films. The documentary nature of Italian neo-realism films is reflected in the authenticity of their materials and the closeness to real life. The reality is presented based on mundane and considerable details of life. There is no pursuit of fiction stories or dramatic stories. The particular purpose pursued by neorealism directors is to faithfully record the reality (Keohane, 1986). 

What makes Bicycle Thieves different from traditional movies is that there is no dramatic conflict in narratives, but a documentary record of a historical moment, making it more trustworthy. The structure of this movie is not a pre-created one. Rather, it develops according to characters and fluid situations. A plot may develop spontaneously. For example, Bruno stops to pee while travelling with his father to look for the thief. As a sequence of plots unfold, the film hints that the hero may not be able to find the bike. Instead of adopting a dramatic narrative, this film tells the story in a chronological order. Such storytelling mode lends realism to this film. Besides, with an opening ending, this film inspires audience’s active imagination. A solution to the ethical dilemma lied in the theme (Should Ricci be understood for stealing other’s bicycle for the loss of his bicycle? Was Ricci wrong or the initial thief?) is not provided. No answer is given, and ambiguity arises. The future of Ricci’s family also remains unknown. As such, an idea is introduced that life is not knowable. 

Location shooting

Natural lighting and flat shooting angles are the characteristics of neorealism shooting (Marcus, 1986). Neorealists carry cameras to bustling streets where true stories take place. Urban slums, bankrupt farms, crumbling buildings can become suitable locations for filming. 

Before World War II, the film industry had already developed, and making a film was highly industrialized. For example, in Hollywood, there are a set of readymade templates, interior and exterior settings (McDonald & Wasko, 2008). On the other hand, neorealist directors wish that the whole truth could be mirrored in their films. Hence, they shoot in real-life settings (including the natural and social ones), emphasizing continuity of time. By doing so, they free film-making from production studios and add a dimension of presence. 

In Bicycle Thieves, none of the scenes is filmed in a studio and all scenes take place in real streets. This film is viewed as a historical record of life in Italy. The camera serves as a window. Fixed-camera positions or small movements objectively record what is going on. In this way, the audience observe what happens outside the window themselves rather than being influenced by editing or cutting. Audience’s attention is directed to the theme of this movie rather than a distinctive style. 

Long shoots

Long shots are the most obvious feature of Italian neorealism films. Long lenses create broad and realistic pictures (Keohane, 1986). In a long shot, subjects are presented in relation to their surroundings. Besides, a long shot usually takes a long time, maintaining the wholeness of time and space. Therefore, a sense of reality is strengthened by involving a series of long shots (Marcus, 1986). 

Long shots are favored in Bicycle Thieves. With very little human intervention, the director lets the camera film scenes automatically. The camera follows the protagonist to every street and alley of Rome. There is no Eisenstein's montage theory or cross-cutting editing in this film. Rather, fixed and slow-moving lens can be spotted everywhere. Such continuous display of time and space gives the audience a sense of reality without noticing any man-made artifacts. In addition, long shots make it possible for viewers to choose what counts for themselves and they may understand a sence differently, rather than having an edited shot affect them. 

Non-professional actors 

Neorealism emphasizes authenticity and naturalness. Amateur performance is welcomed in neorealist films. Actors are not asked to imitate others. Instead, what they need to do is focus on themselves and perform their life (Keohane, 1986).

Most of the cast in this film were non-professional actors, which means they had no experience of acting. Actually, the protagonist in this film is played by an unemployed worker whose situation bears a striking resemblance to the character he portrays. In other words, an unemployed worker exactly performs himself in this film. The hardship, despair, hope or happiness he feels are conveyed to the audience though his natural and remarkable performance. Bruno (the little boy) is found by chance among onlookers on the street. The actress who plays Ricci’s wife is a journalist.

References

Keohane, R. O. (1986). Neorealism and its Critics. Columbia University Press.

Marcus, M. (1986). Italian film in the light of neorealism. Princeton University Press.

McDonald, P., & Wasko, J. (2008). The contemporary Hollywood film industry. Wiley-Blackwell.

Wagstaff, C. (2018). Italian Neorealist Cinema: An Aesthetic Approach. University of Toronto Press.