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Bicycle Thief

Introduction

Film, like any other medium, serves as a means for the communication of ideas. Motion pictures can illustrate the same points as other art forms, but do so through the use of unique techniques. Mis en scene, or what appears prior to the camera's presence and arrangement, is one such element exclusive to film that allows for the demonstration of themes and ideals. The Italian neorealist movement of the mid twentieth century exemplifies the power of mis en scene as a manner of promoting ideas within a movie. Neorealist filmmakers used myriad methods, including nonprofessional actors and shooting on location in order to accurately portray the struggles of their country after World War II. Vittorio De Sica's . A thief, however, steals his bicycle shortly thereafter. Ricci strives valiantly, though to no avail, to regain possession of the bicycle, and at the film's conclusion resorts to unsuccessfully attempting to steal another man's. The Bicycle Thieves paints a picture of an urban man's alienation and economic struggle. De Sica makes this possible largely through his masterful use of mis en scene. He utilizes the mis en scene elements of set, prop usage, and costuming in order to emphasize themes of urban poverty and desperation.

Discussion

Representation of National Identity

Vittorio De Sica utilizes costumes in reflecting the financial hardship of lower class Rome. The element of costuming serves as a reflection of economic adversity quite visibly through the change in the state of Antonio Ricci's clothes as the film progresses. Antonio exchanges his sheets for a bicycle and meets with his supervisor wearing a suit that, although far from luxurious, makes him appear decently presentable. His job uniform also includes accoutrements that he could not otherwise afford, such as a hat that can be considered an upgrade from the dusty fedora he wears in the opening scenes. However, as soon as his bicycle is stolen, Antonio's appearance seems to become increasingly disheveled in correlation with his continuously bleaker economic outlook. His suit becomes wrinkled, dirty, and wet from rain to the point that his impoverishment is obvious from his appearance alone. The wardrobe of his son, Bruno, and wife, Maria, are equally indicative of their financial troubles. Costuming further accentuates their poverty by contrasting their attire with that of the upper class. De Sica most clearly illustrates this in the scene in which Bruno and Antonio dine in an upscale restaurant. Their relative poverty becomes obvious when De Sica juxtaposes Bruno's clothing with that of a wealthy child at another table. Bruno's jacket appears dirty and ill-fitting in addition to having a hole in it. Meanwhile, the child across the restaurant wears a clean and proper jacket and shirt (Welle 2000 pp. 288-299). Additionally, the quality of Antonio's grey and wrinkled blazer pales in comparison even to the suit of the waiter who is serving him. It becomes clear by comparison that the Riccis live in abject poverty relative to the upper class. Additionally, this scene touches on the ...