#Lamberto Maggiorani

[haveyouseenthismovie-poll]

[davidhudson]

Lamberto Maggiorani, August 28, 1909 – April 22, 1983.

Vittorio De Sica’s Bicycles Thieves (1948).

[vibe-stash]

Bicycle Thieves (1948) Director: Vittorio De Sica Cinematography: Carlo Montuori Production Design: Antonio Traverso

[likeitovich]

Bicycle Thieves (Ladri Di Biciclette) by Vittorio De Sica (1948)

[byneddiedingo]

Lamberto Maggiorani and Enzo Staiola in Bicycle Thieves (Vittorio De Sica, 1948) Cast: Lamberto Maggiorani, Enzo Staiola, Lionella Carell, Elena Altieri, Gino Saltamarenda, Giulio Chiari, Vittorio Antonucci. Screenplay: Oreste Biancolli, Suso Cecchi D'Amico, Vittorio De Sica, Adolfo Franci, Gheraldo Gherardi, Gerardo Guerrieri, Cesare Zavattini, based on a novel by Luigi Bartolini. Cinematography: Carlo Montuori. Production design: Antonio Traverso. Film editing: Eraldo Da Roma. Music: Alessandro Cicognini. One of the many things I love about Bicycle Thieves* is the omnipresence of bicycles. At the beginning of the film, we spot them whizzing by the bike-deprived Antonio, as incidental and elusive as birds in the sky. But by the climactic scene, when Antonio and Bruno are sitting despondently on the curb, they are everywhere: There are hundreds of them parked outside the nearby sports arena; a bike race whizzes by only inches from the father and son; and of course there's that fateful bike outside a doorway just around the corner. Bikes become as tempting to Antonio as bottles and glasses would be to a recovering alcoholic in a bar. I wonder how much of the greatness of Bicycle Thieves depends on that list of no less than seven screenwriters: Did Vittorio De Sica really need six other people to tell what is essentially one of the simplest of stories? I think perhaps he did, for the film is crowded with incidentals, with scenes and details that give it such a wonderful texture, from the relationship between Antonio and Maria to the crowd of job-seekers outside the employment office to the bustling bike market scene, and so on. Details such as Antonio's ignoring the fact that Maria is carrying two heavy buckets of water when he finds her to tell her of his job add immeasurably to our sense of his flawed, self-obsessed character. Did the scene in which Antonio watches a man climb up and up and up stacks of shelved, pawned sheets arise from observation on location, or was it suggested by a writer as a way of signaling the depth of poverty in postwar Rome? There are small, non-essential but telling moments in every scene, such as the man at the bicycle market who is clearly a pedophile trying to lure Bruno astray. De Sica and his writers have loaded every rift of Bicycle Thieves with ore. But only De Sica could have been responsible for drawing such miraculous performances from unknown actors like Lamberto Maggiorani, who has the haunted look of a young Robert Duvall, and Enzo Stailolo, whose Bruno verges on cute -- especially when his face lights up at the thought of food -- but never becomes cloying, and at the end exhibits a wonderful mixture of disappointment and love for his father. *This seems to have become the official English-language title of the film, sanctioned by IMDb among others, after many years of being known as The Bicycle Thief. It is, of course, the literal translation of the Italian title, Ladri di Biciclette. But it's not only preferable because of fidelity to the original but also because, as David Thomson puts it in his entry on the film in Have You Seen...?, "in the world it shows, there are thousands of bicycle thieves because of the terrible economy."

[celluloidchronicles]

Ladri di Biciclette

Bycicle Thieves

🇮🇹 | Nov 24, 1948

directed by Vittorio de Sica

screenplay by Oreste Biancoli, Adolfo Franci, Gerardo Guerrieri, Gherardo Gherardi, Suso Cecchi d'Amico, Vittorio de Sica

novel by Luigi Bartolini

story by Cesare Zavattini

produced by Produzioni De Sica

starring Lamberto Maggiorani, Enzo Staiola, Lianella Carell, Elena Altieri, Gino Saltamerenda

1h29 | Drama

𐄂 not watched

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Italian Movies | director Vittorio de Sica | writer Oreste Biancoli | writer Adolfo Franci | writer Gerardo Guerrieri | writer Gherardo Gherardi | writer Suso Cecchi d'Amico | writer Vittorio de Sica | studio Produzioni De Sica | actor Lamberto Maggiorani | actor Enzo Staiola | actress Lianella Carell | actress Elena Altieri | actor Gino Saltamerenda

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Drama 

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[kvetchlandia]

Enzo Staiola (Bruno) and Lamberto Maggiorani (Antonio Ricci), Screenshot from Vittorio De Scia’s “Ladri di biciclette” (Bicycle Thieves)      1948

[duinlam]

“Morto ammazzato per morto ammazzato, ma chi ce lo fa fa' de sta' qui a tribola'?”

Ladri di biciclette (1948) ‘Bicycle Thieves’.

Directed by Vittorio De Sica.

Lamberto Maggiorani

[harrison-abbott]

- All of the actors in the film were amateurs. Vittorio De Sica decided aganist hiring professionals.

- Thus, when we see Lamberto Maggiorani’s (the lead actor’s) nervousness in the film, it is often a reflection over his awkwardness as a non-actor. The director left it in the movie because it suited the character well.

- The director raised the money himself to find the film because no major studio would finance him.

[qu-film-history-to-1968]

Neorealism Throughout Nations

Grace Doyle

  Bicycle Thieves

  Bicycle Thieves (1948) is perhaps the most important viewing when it comes to understanding the Italian neorealism movement. Directed by neorealist godfather Vittorio De Sica, Bicycle Thieves portrays an accurate depiction of the living circumstances of many Italian citizens after the second World War. Italian neorealism, the movement which the film was a part of, acts as a mirror of reality, and enhances this effect through many practical means. Throughout his filmography, including Bicycle Thieves, De Sica utilized nonprofessional actors in his roles. Factory worker Lamberto Maggiorani plays Ricci, a man struggling to provide for his family, who accepts a job as a poster-hanger. When his bicycle is stolen at work, he and his son (Enzo Staiola) journey to find the thief and return the lost item so Ricci can continue working. It is a heartbreaking depiction of suffering and poverty in 1940s Italy, and how the cycle would continue to destroy hardworking families like Ricci’s. However, the film acts as more than a documentation of daily life, but as a societal lesson for audiences to understand: “Partly, this is what the neo in neorealism refers to: while defying conventions, neorealist film and fiction elaborate on the moral and social components of traditional realism…thereby extending and reformulating its borders. Far from being unique to Italian post-war culture, this dialectic between old and new is what permits realism to constantly take on new forms,” (Haaland, 34-35). The emergence of new cinematic techniques within Bicycle Thieves served a greater purpose than aesthetic: by casting real Italian citizens, the devastation of post-war Italy is amplified through their honest performances. Similarly, having shot on-location allows the camera to reflect the human eye. Nothing about Bicycle Thieves is staged, and its working class center was one that could have been discovered by any European audience member. The film, though simplistic in its story and style, leaves an enormous impact on film history.

He Walked by Night

  In post-war America, audiences longed for something different than the big-studio films which they had come to be familiar with. Due to this demand, as well as the lack of efficiency and stability within Hollywood studios, independent filmmakers took to location shooting. He Walked by Night (1948) is an example of the early film noir era in post-war cinema, as its documentary style holds strong against a backdrop of 1940s Los Angeles. The film, which follows a police department’s hunt for a resourceful criminal after he kills one of their own, shares many cinematic similarities to those of the Italian neorealism genre. Not only was it shot primarily on location, but it takes place over a continuous course of time, without major jumps to the future or past. Like Italian realism, the American post-war realism era also places emphasis on social commentary: throughout many works, “Other postwar realist forms such as the social-problem film are addressed, as well as the aesthetic and commercial effects of a modernist preoccupation with ‘the real’...” (Grossman, 132). Although the focus on the criminal is perhaps the most intriguing aspect of the film, He Walked by Night has an immense focus on the police procedural, which is allegedly based on a true LAPD police file. The darkness of crime noir surged in popularity post-World War II, as it reflected both the depravity and patriotism the nation was grappling with at the time. It also completely juxtaposed the extravagance of studio films during the early and mid-1940s, as American audiences grew exhausted of over-embellished maximalism on screen. He Walked by Night may not be as fondly remembered as Bicycle Thieves, but its similarity in theme and structure paint an accurate portrait of Hollywood after the war.

Works Cited

Ebert, R. (1999). The bicycle thief movie review (1949): Roger Ebert. The Bicycle Thief movie review (1949) | Roger Ebert. https://www.rogerebert.com/reviews/great-movie-the-bicycle-thief--bicycle-thieves-1949 

Grossman, Julie, and R. Barton Palmer. South Atlantic Review, vol. 82, no. 3, 2017, pp. 132–34. JSTOR, https://www.jstor.org/stable/90013813. Accessed 26 Nov. 2023.

Haaland, Torunn. “REALISM AND NEOREALISM.” Italian Neorealist Cinema, Edinburgh University Press, 2012, pp. 33–61. JSTOR, http://www.jstor.org/stable/10.3366/j.ctt3fgsn5.6. Accessed 26 Nov. 2023.

[londranotizie24]

Roman nights con il cinema italiano all'Istituto di Cultura di Londra

Di Simone Platania @ItalyinLDN @ICCIUK @ItalyinUk @inigoinLND Il cinema italiano arriva all’Iic di Londra con Roman Nights, una selezione dei migliori film girati a Roma. Notti romane a Londra per la candidatura all’Expo 2030 La cinematografia del Belpaese, dal neorealismo alla commedia all’italiana, da Fellini a Sorrentino, è da sempre apprezzata in tutto il mondo. E le programmazioni in Uk continuano a ritmo serrato. In occasione della candidatura all’Expo 2030, il cinema italiano arriva all’Iic di Londra con la selezione di film Roman Nights. L'Istituto Italiano di Cultura di Londra ha infatti curato la serie "Notti romane", presentando alcuni dei migliori film girati a Roma. Giovedì 1 dicembre, alle 18.00, presso la sede dell’Istituto andrà in onda Ladri di Biciclette. I biglietti per il film, che sarà proiettato in italiano con sottotitoli in inglese, sono disponibili qui. L’evento sarà introdotto e discusso in post proiezione da Nick Walker. Roman Nights e Ladri di Biciclette, il film e gli ospiti Il cinema italiano arriva all’Iic di Londra il primo dicembre. Roman Nights-Notti Romane, vede Nick Walker introdurre il film Ladri di biciclette e discuterne dopo la proiezione. Walker ha lavorato nell’industria cinematografica e ha scritto diversi articoli sul cinema per The Guardian. Inoltre è un docente di cinema, programmatore e coonduttore di eventi cinematografici. Il film da lui discusso e proiettato alle ore 18.00 è Ladri di biciclette. Dramma neorealista ambientato a Roma nel secondo dopoguerra, è adattato per lo schermo da Cesare Zavattini. L’opera, derivante dal romanzo di Luigi Bartolini, è diretto da Vittorio De Sica e interpretato da Lamberto Maggiorani e Enzo Staiola. Il film, noto in tutto il mondo, ha ricevuto un Academy Honorary Award nel 1950. Nel 1952 è stato considerato il più grande film di tutti i tempi dal sondaggio della rivista Sight & Sound da parte di registi e critici. Tra i vari premi e nomination vi è, inoltre, un Golden Globe come Miglior film straniero, nel 1950 ... Continua a leggere su www. Read the full article

[davidhudson]

Lamberto Maggiorani, August 28, 1909 – April 22, 1983.

Vittorio De Sica’s Bicycle Thieves (1948).

[vibe-stash]

Bicycle Thieves (1948) Director: Vittorio De Sica Cinematography: Carlo Montuori Production Design: Antonio Traverso

[normajeanebaker]

Bicycle Thieves // Ladri di biciclette (1948) dir. Vittorio De Sica

[cinematicmasterpiece]

bicycle thieves (1948)

[sirbogarde]

Bicycle Thieves // Ladri di biciclette  (1948) dir. Vittorio De Sica

“I've been cursed since the day I was born”