Vittorio De Sica’s Bicycle Thieves (1948), now showing at the BFI Southbank in London, retains its emotional resonance and cinematic brilliance in 2024. The film unfolds in post-World War II Rome, capturing the plight of ordinary Italians amidst economic hardship. It beautifully weaves together moments of despair, tenderness, and perseverance.

Lamberto Maggiorani’s portrayal of Antonio Ricci, an unemployed man struggling to reclaim his stolen bicycle, is profoundly moving. His performance encapsulates the desperation and dignity of the working class, while Enzo Staiola, as Antonio’s young son Bruno, delivers a performance of remarkable innocence. The father-son dynamic is the heart of the film, reflecting broader societal issues through their personal struggle.

One of the film’s most striking features is its unvarnished portrayal of everyday life. Similar to Rome, Open City (1945), it is filmed on location in the streets of Rome using a blend of non-professional actors and experienced performers, exuding a raw authenticity that remains compelling. The cinematography, characterised by its use of natural light and on-the-ground perspectives, immerses the audience in the characters’ world.

Viewed as part of the “Chasing the Real: Italian Neorealism” season at the BFI Southbank in London, Bicycle Thieves remains a vital piece of cinematic history. Its depiction of post-war Italy and the human spirit’s resilience against adversity is as relevant today as it was at its release. For anyone seeking an evocative, beautifully shot film that delves deep into the human condition, Bicycle Thieves is a must-see, offering a timeless perspective on struggle and hope.

Book for “Chasing the Real: Italian Neorealism” on the BFI Southbank website.