Ladri di Biciclette (The Bicycle Thief) (1949)

Ladri di biciclette (The Bicycle Thief). A film that consistently revolving around many critics’ list of best film of all time, the Bicycle Thief is a very simple yet packed a powerful power for a film and should be savored by many who seek more than just an entertainment to kill a time in a film.

Arrived from my favorite era of film industry (post World War II, 1946 – 1955), this film utilizes no professional actor in the role. Lamberto Maggiorani, the front-man of this film was a factory worker. He portrays Antonio Ricci, a struggling family man who queues up every morning for a job in a grim and harsh Rome. One day, he gets a job, but there’s a problem, the job requires him to have a bicycle. He had a bicycle, only that it was currently owned by a pawn shop. In desperate need of a job to support his family, he screams, “I have a bicycle”.

Later that day, Maria, his wife, sells their linen bed-sheets in order to pawn back the bicycle. And as everybody could probably guessed correctly from the title, that the bicycle is going to be stolen, Vittorio De Sica teases us regarding “when” was the bicycle is actually stolen.

It’s a very simple premise, but yet, who couldn’t identify themselves with Ricci? He’s a struggling family man, which in the hardest of time still thought about the well being of his family. Especially with his son who for the most part of the film had their relationship maintained and well developed by De Sica.

In a way, it is a rarity nowadays for a film that maintains a simple premise yet packed it with a punch that even after sixty years still relevant despite its rugged imagery and the unmistakable sense of “old” in its presentation. Therefore, albeit I wasn’t really keen as many other critics who eagerly put “The Bicycle Thief” as one of the best film of all-time, it was one of the best films that I’ve ever seen. And finally, the film’s ending is one of the most daring, heart-wrenching scenes that I felt a significant remorse long after the film closes. It is THAT powerful of a film.

The Bicycle Thief also serves as a solid proof of why the particular era (post World War II) remains one of my most favorite eras of film. Especially more if the film in question came from countries who suffered the most during the war such as Japan, or Italy. There’s no denying the feeling of “lost”, “despair” and “hope” from the filmmakers bleed through the screen. Therefore, in my opinion, even if the film portrays such a simple theme of a man and his bicycle, or a family theme (such as Yasujiro Ozu’s “Tokyo Story”), it serves incredibly well as an anti-war film. Even more than those pretentious films such as Roberto Benigni’s “Life is Beautiful”. Yeah, I loathe that film, and please let it be like that.

Note: There has been a discussion wether Ladri di Biciclette translated as "The Bicycle Thief" or as "The Bicycle Thieves". Whatever, if you like films, and black-and-white film doesn't made you wince, this is a film worthy of your time.

My rating: **** / **** - Need to see it several more times to test it against the time. But for the time being, it is one of the great films that i've ever seen.