Tag Archives: Fausto Guerzoni

1948 Films, Drama, International, International Drama, Italian

The Bicycle Thief-1948

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The Bicycle Thief-1948

Director Vittorio De Sica

Starring Lamberto Maggiorani, Enzo Staiola

Scott’s Review #867

Reviewed February 16, 2019

Grade: A

The Bicycle Thief (1948), whose English title is a translation of the original Italian Bicycle Thieves (Ladri di biciclette), is an essential and cherished film that delivers a powerful message through a compelling story.

The emotional film focuses on a robust relationship between a father and his son and their determination to retrieve what is rightfully theirs.

Made after World War II, it has a socialist theme and a hallmark neorealist style centered around working-class people.

The film is an example of cinema as art, not merely entertainment.

The film deservedly was awarded a special Academy Award for “Most Outstanding Foreign Language Film” before the historic Best Foreign Language Film award existed.

This is a testament to the power and humanism that the film envelops as the sad and occasionally incredible story unfolds. Professional actors and non-actors make the film a strong and authentic watch in a quick one-hour and twenty-nine-minute running time.

In the late 1940s, Rome Antonio Ricci (Lamberto Maggiorani) struggles to find decent work to support himself and his family.

When an opportunity presents itself but requires a bicycle, Antonio’s wife, Maria (Lianella Carell), selflessly sells family heirlooms to acquire his pawned bicycle.

Things look great for the family as Antonio begins his new job. On his first day, a thief steals his bicycle. Antonio sits atop a ladder, helplessly witnessing the theft.

Determined to track the thief down and retrieve his stolen bike, he and his son Bruno (Enzo Staiola) traverse the city in desperation.

The Bicycle Thief is a simple story that enraptures readers with a range of emotions: anger at the thief, empathy for Antonio and Bruno, inspiration from the humanity of some characters, and rage at the actions of others.

Antonio strives to be a good role model for his son and a provider for Maria. By the end, he has become a more complex character, resorting to drastic measures to solve his problems.

Antonio is desperate, guilt-ridden, and ashamed, yet also a highly inspirational character.

Fans of the gorgeous and historic European city of Rome are in for a treat. The Bicycle Thief is peppered with enchanting shots of the famous town and focuses on the events of everyday people as they go to work and spend their days on a mission.

Director Vittorio de Sica’s bright, sunny lighting portrays Rome as a hot, bustling epicenter. The atmosphere is foreboding, as we know something dire will soon occur amid the warm and cheery metropolis.

The acting is central to The Bicycle Thief’s success, with inspired performances by Maggiorani and Staiola as father and son.

Staiola is masterful as a young boy who needs a father figure and hangs on his father’s every move.

In many scenes, his soulful, expressive eyes hold both sadness and hope as he yearns and prays for his father to be happy again and for himself to feel safe.

In comparison, Maggiorani possesses an ability to portray strength and angst interchangeably. His finest scene is pivotal as he realizes he has become no better than the thief he despises early in the film and is buried in shame.

The Bicycle Thief (1948) is a powerful and memorable film because of its simplicity and humanistic sensibilities. The plot is basic and explores one man’s quest for justice and the right to live his life and care for his family.

His journey is complex and fraught with tense moments, making the film palpable and heart-racing as his adventure unfolds before us.

Thanks to gorgeous cinematography and a dose of pathos, those who watch this film will be in store for a treasure of powerful cinematic storytelling.

Oscar Nominations: Best Screenplay

Golden Globe Nominations: 1 win-Best Motion Picture-Non-English Language (won)

1959 Films, Art, Best International Film Oscar Winners, Best International Picture-Golden Globe Winners, Drama, International, International Drama, Portuguese, Romantic Drama

Black Orpheus-1959

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Black Orpheus-1959

Director Marcel Camus

Starring Breno Mello, Marpessa Dawn

Scott’s Review #689

Reviewed October 8, 2017

Grade: A

Black Orpheus is a 1959 French film made in Brazil, honored with a win in the coveted Best Foreign Language Film Academy Award category in 1960, considered somewhat of a surprise.

The film is adapted from the well-known Greek legend of Orpheus and Eurydice. It is now set in Rio de Janeiro during the festive celebration of Carnaval.

Black Orpheus, starring almost all black actors and providing a look at life on the streets of Brazil, is vibrant and filled with lively songs and dances.

The setting is key to the film as the beauty and merriment are mixed with loss and tragedy.

Loads of exterior shots of Rio de Janeiro flesh out the film with many shots high atop a hill in a quaint village where all of the characters live, most in very close proximity to each other.

Like Shakespeare’s Romeo and Juliet, the film is romantic and lovely, but the story is also mired in jealousy and drama amid the dancing and many celebrations.

Many of the actors, lead Breno Mello and Marpessa Dawn, are non-actors, cast undoubtedly because of their gorgeous, authentic looks. Still, surprisingly, both are phenomenal in their roles and perfectly cast.

Wholesome Eurydice (Dawn) arrives in Rio de Janeiro by trolley driven by Orpheus (Mello), intent on visiting her cousin, Serafina. There is an instant attraction between the young man and the woman as he provides directions to her cousin’s village, which is also his.

Orpheus, however, is engaged to be married to his possessive and demanding fiancée, Mira. He is less enthused about the impending marriage and would rather fix his guitar than buy Mira an engagement ring.

As the Carnival festivities get underway, Orpheus and Eurydice give in to their mutual attraction and dance the night away while subsequently trying to avoid the wrath of Mira and a mysterious costumed man who has been stalking Eurydice since she escaped her village and fled to Rio.

Eurydice is terrified that the man may want to kill her, and his motivations are unknown. His character is particularly frightening as he is known as “Death” and dons a tight skeleton costume.

The tragic conclusion, culminating in an incredible chase scene in Orpheus’s trolley station, is fantastic. The morbid ending, based on the legendary Greek tale, is unsurprising.

However, the Romeo and Juliet comparisons are still heartbreaking and challenging to experience, most notably the final scene atop a cliff.

The scene is shocking and brutal as the lovelorn couple topples down a hill together at the hands of another central character.

However, as they are intertwined in each other’s arms, the scene is also gorgeous and a confirmation of true love and artistic beauty.

Some accusations of racial stereotypes within this film have abounded over the years, mainly the depiction of Brazil being inhabited by party-going, sex-crazed people.

I find the film a masterpiece and the type of cinematic experience to be enjoyed rather than over-analyzed.

The almost nonstop musical score created by Luiz Bonfa and Antonio Carlos Jobim is to die for and is an enormous part of what makes the film so engaging and entertaining.

Perfectly capturing the spirit of a jovial, cultural environment, Black Orpheus (1959) spins a riveting, heartbreaking tale of love amid a musical.

Tragedy, art, true love, romance, and death are all elements captured in this excellent film.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

Golden Globe Nominations: 1 win- Best Foreign Film-Foreign Language (won)