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Read More ‘This is Happening’: Film ReviewĪ bit too rambling and diffuse to be fully educational, We Weren’t Just Bicycle T hieves nonetheless serves as a valuable introduction to its subject. Such films as Fellini’s La Strada and Visconti’s Senso, both in 1954, indicated a rupture with the genre, serving up poetic realism and historical melodrama, respectively. Paresh C Palicha says debutante director Jimson Joy tries to combine an old-style narrative with so-called ‘new gen’ cinema in Bicycle Thieves, but. Although many of its films garnered critical acclaim and international success, they often underperformed at the Italian box office. Review: Bicycle Thieves fails to impress. I feel like Im being generous giving Bicycle Thieves a half more than planned, but this film truly just hit all the right spots. There’s even a discussion with Enzo Staiola (if the name’s not familiar, he played the young boy in Bicycle Thieves).Īn outgrowth of the Second World War, neorealism eventually died out. Why should I kill myself worrying when Ill end up just as dead. Along the way there are interviews with such figures as the Taviani brothers, novelist Umberto Eco, Bernardo Bertolucciand Martin Scorsese, all testifying to the enduring influence neorealism had on their work. Clips from these and many other classics are shown, including Umberto D., Shoeshine, Open City and Germany: Year Zero. The “real flag” of neorealism, according to the film, was Visconti’s 1943 crime drama Ossessione, although, as the title indicates, De Sica’s Bicycle Thieves is perhaps its most famous exemplar.