Neorealism in The Bicycle Thief

Another fine example of neorealism is The Bicycle Thief (1948), written by Cesare Zavattini and directed by Vittorio De Sica. The narrative of this film unfolds in post-W.W.II times. The film is a portrait of the post-war Italian disadvantaged class (the majority) in their search for self-respect. It is a time of struggle for the Italian people, amplified by a shortage of employment and lack of social services. In the first scenes of the …

…in this film, signifying the purity of love and understanding in times of trial. The final scene shows Antonio and Bruno in immense emotional pain, walking amongst an indifferent stadium crowd. But the scene, although certainly an unhappy one, also portrays optimism- in the form of Bruno's acceptance and support for his father: Bruno walks beside his father holding his hand, as his father cries tears of grief. In the end, Love is human optimism.