Bicycle Thieves 1948 123movies

Watch: Ladri di biciclette 1948 123movies, Full Movie Online – Antonio Ricci, an unemployed man in the depressed post-WWII economy of Italy, finally gets a job hanging up posters, but he needs a bicycle. But when his bicycle is stolen,, he and son walk the streets of Rome looking for it. Antonio finally manages to locate the thief, but with no proof he must abandon his cause. But he and his son know perfectly well that without a bike, Antonio won’t be able to keep his job..
Plot: A working man’s livelihood is threatened when someone steals his bicycle.
Smart Tags: #post_world_war_two_italy #bicycle_theft #lack_of_money #bicycle #thief #post_war #theft #despair #church #riding_a_bicycle #search_for_stolen_bicycle #chase #non_professional_cast #city #planting_a_seed #catholic_mass #father_slaps_his_son #cigarette #gentle_cinema #job #search

Find Alternative – Ladri di biciclette 1948, Streaming Links:

123movies | FMmovies | Putlocker | GoMovies | SolarMovie | Soap2day

Ratings:

	8.3/10 Votes: 163,688
	99% | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 1958 Popularity: 17.291 | TMDB

Reviews:

When in Rome… keep an eye on your bicycle! Or else it might be stolen and you’ll find yourself fruitlessly searching the streets of Italy, as the father and son do in this classic Italian film. Lamberto Maggiorani, as the desperate, out of work father, and Enzo Staiola, as his frustrated young son, play off each other nicely and a nice pace keeps things interesting. It’s heralded as one of the greatest movies ever made, but personally I don’t quite see why. It’s a good story none the less, and it kept my attention. There’s a very satisfying dose of irony at the end.

In post war Rome, money is very tight for “Antonio” (Lamberto Maggiorani) so when he gets a chance to earn some extra cash, he grabs the opportunity. Snag is, he needs his bike to do the work and someone has just pinched it. Together with his young son “Bruno” (a superb Enzo Staiola) he sets out on the near impossible task of tracking the thing down! What ensues are a series of escapades as the father and son team encounter a range of equally war ravaged citizens – some more helpful than others – on their mini-quest. It’s an interesting study on humanity this, centred around something so apparently pedestrian as losing a bike, but the cascading impact of that event on their lives and their relationship as well as with the profound effects on their livelihood and self respect are expertly laid out by De Rica, who draws us gradually into their series of adventures. The simplicity of the story also engenders an opportunity to look at the poverty endured by many sections of the citizenry (those who sit through the mass so they can be rewarded with a bowl of soup rather than worrying about any redemption of their soul, for example). The performance from the young Staiola is excellent. He plays the role of the young boy with considerable natural skill – his character has no real idea of why this bike is so important, nor of why it’s loss is causing his father’s behaviour to vacillate – but like a loyal puppy, he continues to help out, even saving the day at one stage. The settings in this ancient city add considerably to the sense of despair – ruins (old and new) – and at times they make you wonder of life here has really moved on so much from Roman times. The pace of the film is very well measured, the script is not devoid of a bit humour, even joy, now and again and the momentum builds steadily to a conclusion that is remarkably poignant and that left me with a smile on my face. Question is though, does he find his bike???

A Potpourri of Vestiges Review: The path to eternal salvation becomes obvious only through true understanding of human emotions
Semantically speaking, self-realization is a probable prelude to catharsis, but at a much higher echelon of cognition the two become virtually inseparable as attaining the former would automatically yield the latter. At this threshold of enlightenment, human spirit attains a sense of ephemeral divinity that would either drive the human crazy or would lead him to salvation. This enlightenment can seldom be attained through vicarious means. Even cinema, with its unparalleled potential to stimulate and satiate, mostly falls short of being cathartic, and only in the rarest of the rare cases does it manage to accomplish the incredible and the extraordinary. Undoubtedly, Bicycle Thieves is one such rare moment of triumph, wherein cinema becomes not only the tool but also the medium for the viewer to attain eternal salvation.

Bicycle Thieves is an Italian neo-realist film by Vittorio De Sica. Neo- realism, a naturalistic movement in Italian cinema of the 1940s, aimed at giving cinema a new degree of realism, which promoted the use of an amateur cast vis-à-vis a professionally trained one and advocated shooting at real locations instead of the custom-built sets & studios. Keeping up with the spirit of the movement, Vittorio De Sica chose a factory fitter who had brought his son along for an audition as his male lead. His lead actress was a journalist who had approached him for an interview, while the young boy was filled by a child spotted in the crowd watching the filming.

Bicycle Thieves tells the story of a poor worker searching the streets of Rome for his stolen bicycle, which he needs to keep his job intact. The movie is an amalgam of contrasting human feelings of hope & despair, sacrifice & gratification, euphoria & melancholy, love & detestation, and malice & benevolence. Bicycle Thieves performs the central function of art, which is to discover the meaning of life. The movie brilliantly handles with utmost care and precision the tender and often painful relationship that universally exists between a father and a son. The later half of the movie presents cinema at its most vivid, vituperative and volatile culminating in one of the most impactful, melancholic and brutally humanistic finales ever filmed in cinematic history, the agony of which would keep the viewer contemplating for weeks, months, or even years.

The screenplay is simplistic, thought-provoking and at times nakedly brutal, while the cinematography is so effortless and magnificently beautiful that it appears as though a soul of a man has been filmed, and its true essence has been captured and preserved. The poignancy of the background score casts such a sustained spell that the movie experience is enhanced beyond imagination. American playwright Arthur Miller called it a lyrical masterpiece as it examines openly the destructive and draconian world man has made for himself. Marlon Brando once said, “Bicycle Thieves is the perfect example of what can be done in front of the motion picture camera and is so rarely done”. Academy winner, Henry Fonda was so moved by the movie that he was tempted to write Vittorio De Sica a fan letter. The film is frequently on critics’ and directors’ lists of the best films ever made. It has captured every honor that the world of film can bestow including an Academy Honorary Award in 1950.

All these accolades and the ubiquitous acclaim cannot describe the actual experience of seeing this film and becoming a part of its emotional impact. It makes the viewer laugh, cry and experience a rainbow of emotions. Bicycle Thieves has withstood the test of time for over six decades, and is a film for anyone and everyone.

PS. It is a cinematic magnum opus, which accentuates the true might of cinema, and is a must for everyone, irrespective of cast, color, creed or gender. It’s an ageless cinema for people of all age groups. 10/10

http://www.apotpourriofvestiges.com/

A Potpourri of Vestiges Review: The path to eternal salvation becomes obvious only through true understanding of human emotions
Semantically speaking, self-realization is a probable prelude to catharsis, but at a much higher echelon of cognition the two become virtually inseparable as attaining the former would automatically yield the latter. At this threshold of enlightenment, human spirit attains a sense of ephemeral divinity that would either drive the human crazy or would lead him to salvation. This enlightenment can seldom be attained through vicarious means. Even cinema, with its unparalleled potential to stimulate and satiate, mostly falls short of being cathartic, and only in the rarest of the rare cases does it manage to accomplish the incredible and the extraordinary. Undoubtedly, Bicycle Thieves is one such rare moment of triumph, wherein cinema becomes not only the tool but also the medium for the viewer to attain eternal salvation.

Bicycle Thieves is an Italian neo-realist film by Vittorio De Sica. Neo- realism, a naturalistic movement in Italian cinema of the 1940s, aimed at giving cinema a new degree of realism, which promoted the use of an amateur cast vis-à-vis a professionally trained one and advocated shooting at real locations instead of the custom-built sets & studios. Keeping up with the spirit of the movement, Vittorio De Sica chose a factory fitter who had brought his son along for an audition as his male lead. His lead actress was a journalist who had approached him for an interview, while the young boy was filled by a child spotted in the crowd watching the filming.

Bicycle Thieves tells the story of a poor worker searching the streets of Rome for his stolen bicycle, which he needs to keep his job intact. The movie is an amalgam of contrasting human feelings of hope & despair, sacrifice & gratification, euphoria & melancholy, love & detestation, and malice & benevolence. Bicycle Thieves performs the central function of art, which is to discover the meaning of life. The movie brilliantly handles with utmost care and precision the tender and often painful relationship that universally exists between a father and a son. The later half of the movie presents cinema at its most vivid, vituperative and volatile culminating in one of the most impactful, melancholic and brutally humanistic finales ever filmed in cinematic history, the agony of which would keep the viewer contemplating for weeks, months, or even years.

The screenplay is simplistic, thought-provoking and at times nakedly brutal, while the cinematography is so effortless and magnificently beautiful that it appears as though a soul of a man has been filmed, and its true essence has been captured and preserved. The poignancy of the background score casts such a sustained spell that the movie experience is enhanced beyond imagination. American playwright Arthur Miller called it a lyrical masterpiece as it examines openly the destructive and draconian world man has made for himself. Marlon Brando once said, “Bicycle Thieves is the perfect example of what can be done in front of the motion picture camera and is so rarely done”. Academy winner, Henry Fonda was so moved by the movie that he was tempted to write Vittorio De Sica a fan letter. The film is frequently on critics’ and directors’ lists of the best films ever made. It has captured every honor that the world of film can bestow including an Academy Honorary Award in 1950.

All these accolades and the ubiquitous acclaim cannot describe the actual experience of seeing this film and becoming a part of its emotional impact. It makes the viewer laugh, cry and experience a rainbow of emotions. Bicycle Thieves has withstood the test of time for over six decades, and is a film for anyone and everyone.

PS. It is a cinematic magnum opus, which accentuates the true might of cinema, and is a must for everyone, irrespective of cast, color, creed or gender. It’s an ageless cinema for people of all age groups. 10/10

http://www.apotpourriofvestiges.com/

Other Information:

Original Language it
Runtime 1 hr 29 min (89 min)
Budget 133000
Revenue 436655
Status Released
Rated Not Rated
Genre Drama
Director Vittorio De Sica
Writer Cesare Zavattini, Luigi Bartolini, Oreste Biancoli
Actors Lamberto Maggiorani, Enzo Staiola, Lianella Carell
Country Italy
Awards Nominated for 1 Oscar. 20 wins & 3 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.37 : 1
Camera Arriflex II C (uncredited)
Laboratory Tecnostampa, Roma, Italy (negatives & positives) (as ‘Tecnostampa’ di V. Genesi)
Film Length 2,405 m (Sweden, cut version), 2,561 m (Italy), 2,306 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format DCP Digital Cinema Package (Digital Cinema Package DCP 4k), 35 mm