자전거도둑

[박대선]

나는 좋은 때 좋은 나라에서 태어나서 양식걱정을 해본적은 없다. 사람이 살기위해 필수적인 기본적인 의식주의 위협을 받지는 않았던 것이다. 특히 최근에는 한국보다 더 복지가 잘 된 캐나다에 살고 있어서 별다른 변화가 없는한 이런 걱정을 하지는 않아도 될 듯싶다. 하지만 60년전에만 해도 한국은 물론 지금 살고 있는 캐나다아 유럽국가에도 그런 걱정을 했던 모양이다.

이 영화는 일반적으로 자전거도둑이라고 알려져있지만 이탈리아 원제는 복수형인 자전거도둑들이다. 그 이유는 생계걱정을 해야 하는 2차대전후 로마의 실업자 가장인 주인공이 구직조건인 자전거를 도난당하고 찾는데 실패하여 다른 사람의 자전거를 훔치게 되기 때문에 2명의 도둑이 등장하기 때문이다.

지금의 어린이들과는 달리 주인공의 아들은 어린 나이임에도 불구하고 주유소에서 일을 하고 아버지의 자전거 찾기를 돕는다.

역시 지금과는 달리 화가났어도 피자를 먹자는 말에 미소를 보이는 정말 먹을 것이 궁했던 환경의 아이다. 영화의 마지막에 현행범으로 끌려가는 아버지의 모자를 줍고 아빠를 부르며 따라오는 탓에 자전거 주인은 자식교육을 잘 시켯다며 주인공을 그냥 보내준다. 오죽하면 아들이 보고잇는데 도둑질을 했을까? 이렇게 두세대만 올라가도 세계 대부분의 지역이 어렵게 살았다는 것을 생각하면 현대를 사는 우리들은 좀더 만족하고 살아야 하는지도 모른다.

Bicycle Thieves

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"The Bicycle Thief" redirects here. For other uses, see The Bicycle Thief (disambiguation).

Bicycle Thieves
Italian theatrical release poster
Directed by	Vittorio De Sica
Produced by	P.D.S.: Produzioni De Sica (with finance from Ercole Graziadei, Sergio Bernardi, Count Cicogna)[1]
Screenplay by	Vittorio De Sica Cesare Zavattini Suso Cecchi d'Amico Gerardo Guerrieri Oreste Biancoli Adolfo Franci
Story by	Luigi Bartolini
Starring	Lamberto Maggiorani Enzo Staiola Lianella Carell Vittorio Antonucci
Music by	Alessandro Cicognini
Cinematography	Carlo Montuori
Edited by	Eraldo Da Roma
Distributed by	Ente Nazionale Industrie Cinematografiche Joseph Burstyn & Arthur Mayer (US)
Release dates	24 November 1948 (1948-11-24) (Italy) 12 December 1949 (1949-12-12) (U.S.) [2]
Running time	93 minutes
Country	Italy
Language	Italian
Budget	$81,000 or $133,000[citation needed]
Box office	$371,111 (domestic gross)[2]

Bicycle Thieves (Italian: Ladri di biciclette; originally titled The Bicycle Thief in the United States)^[3] is a 1948 Italian film directed by Vittorio De Sica. The film follows the story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family.

Adapted for the screen by Cesare Zavattini from a novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves is widely regarded as a masterpiece of Italian neorealism. It received an Academy Honorary Award in 1950 and, just four years after its release, was deemed the greatest film of all time by Sight & Sound magazine's poll of filmmakers and critics;^[4] fifty years later the same poll ranked it sixth among greatest-ever films.^[5] It is also one of the top ten among the British Film Institute's list of films you should see by the age of 14.

Contents

 [hide] 

• 1 Plot
• 2 Cast
• 3 Production
• 4 Translated title
• 5 Critical reception
• 6 Legacy
• 7 Awards
• 8 See also
• 9 References
• 10 External links

Plot[edit]

In the post-World War II Val Melaina neighbourhood of Rome, Antonio Ricci (Lamberto Maggiorani) is desperate for work to support his wife Maria (Lianella Carell), his son Bruno (Enzo Staiola), and his small baby. He is offered a position posting advertising bills, but tells Maria that he cannot accept because the job requires a bicycle. Maria resolutely strips the bed of her dowry bedsheets—​​prized possessions for a poor family—​​and takes them to the pawn shop, where they bring enough to redeem Antonio's pawned Fides brand bicycle. (A memorable shot shows the sheets being added to a mountain of bedding pawned by other families.) They cycle home—​​Maria on the crossbar—​​rejoicing in their good fortune. Along the way, Maria insists that she has to visit someone. Antonio discovers that it is a seer who had prophesied that Antonio would find work and that Maria owes her money. Antonio is derisive of Maria's faith in the seer, and teases her about spending money on such foolishness.

On his first day of work Antonio is atop a ladder when a young man (Vittorio Antonucci) snatches the bicycle. Antonio gives chase but is thrown off the trail by the thief's confederates. The police take a report but warn that there is little they can do. Advised that stolen goods often surface at the Piazza Vittorio market, Antonio goes there with several friends and his small son Bruno. Finding a bike that might be Antonio's they summon an officer, but the serial numbers do not match.

At the Porta Portese market Antonio and Bruno spot the thief with an old man. They pursue the thief but he eludes them. They then accost the old man demanding disclosure of the thief's identity, but the old man feigns ignorance. They follow him into a church where, after disrupting the service, he slips away from them. Bruno, after this latest defeat, appears dismayed before his father who upon seeing this slaps his son, greatly upsetting the boy. Antonio has Bruno wait by a bridge while Antonio searches for the old man. Suddenly there are cries that a boy is drowning. Rushing toward the commotion Antonio is relieved to see that the drowning boy is not Bruno. Antonio treats Bruno to lunch in a restaurant, where they momentarily forget their troubles, but on seeing a rich family enjoying a fine meal, Antonio is again seized by his calamity and tortures himself by reckoning his lost earnings.

Desperate, Antonio consults the seer, who tells him, "You'll find the bike today, or not at all." Leaving the seer's house they encounter the thief; Antonio pursues him into what turns out to be a brothel, the denizens of which quickly eject them. In the street hostile neighbors gather as Antonio accuses the thief, who conveniently falls into a fit for which the crowd blames Antonio. During this commotion Bruno fetches a policeman, who searches the thief's apartment without result. The policeman tells Antonio the case is weak—​​Antonio has no witnesses and the neighbors are certain to provide the thief with an alibi. Antonio and Bruno walk off in despair amid jeers and threats from the crowd.

On their way home, they near Stadio Nazionale PNF football stadium. Inside a game is underway, while outside, rows of bicycles await their owners. Antonio sees an unattended bicycle near a doorway. He paces distractedly, then sits with Bruno on the curb, his hat in his hands. He looks as a stream of bicycles rush past—​​the world seems full of other people's bicycles. He resumes pacing, anguished and agitated, then gives Bruno some money, telling him to take the streetcar and wait at Monte Sacro.

Antonio circles the unattended bicycle, summons his courage, and jumps on it. The hue and cry is instantly raised, and Bruno, who has missed the streetcar, is stunned to see his father surrounded, pulled from the bike, slapped and insulted—​​his hat knocked off. As Antonio is being muscled toward the police station, the bicycle's owner notices Bruno, who is carrying Antonio's hat; in a moment of compassion he tells the others to release Antonio.

Antonio and Bruno walk off slowly amid a buffeting crowd. Bruno hands his father the hat, crying as Antonio stares dazedly ahead, unreacting even as a truck brushes his shoulder. They look briefly at each other. Antonio fights back tears; Bruno takes his hand. The camera watches from behind as they disappear into the crowd.

Cast[edit]

Lamberto Maggiorani as Antonio Ricci Enzo Staiola as Bruno Ricci, Antonio's son Lianella Carell as Maria Ricci, Antonio's wife Gino Saltamerenda as Baiocco, Antonio's friend who helps search Vittorio Antonucci as Alfredo Catelli the Bicycle thief Giulio Chiari as a Beggar Elena Altieri as the Charitable Lady Carlo Jachino as a Beggar Michele Sakara as the Secretary of the Charity Organization Emma Druetti Fausto Guerzoni as an Amateur Actor Giulio Battiferri as a Citizen Who Protects the Real Thief (uncredited)

Ida Bracci Dorati as La Santona (uncredited) Nando Bruno (uncredited) Eolo Capritti (uncredited) Memmo Carotenuto (uncredited) Giovanni Corporale (uncredited) Sergio Leone as a Seminary Student (uncredited) Mario Meniconi as Meniconi, the Street Sweeper (uncredited) Massimo Randisi as a Rich Kid in the Restaurant (uncredited) Checco Rissone as a Guard in Piazza Vittorio (uncredited) Peppino Spadaro as a Police Officer (uncredited) Umberto Spadaro (uncredited)[citation needed]

Production[edit]

Bicycle Thieves is the best-known work of Italian neorealism, the movement (begun by Roberto Rossellini's 1945 Rome, Open City) which attempted to give cinema a new degree of realism.^[6] De Sica had just made the controversial film Shoeshine and was unable to get financial backing from any major studio for the film, so he raised the money himself from friends. Wanting to portray the poverty and unemployment of post-war Italy,^[7] he co-wrote a script with Cesare Zavattini and others using only the title and few plot devices of a little-known novel of the time by poet/artist Luigi Bartolini.^[8] Following the precepts of neorealism, De Sica shot only on location (that is, no studio sets) and cast only untrained nonactors. (Lamberto Maggiorani, for example, was a factory worker.) That some actors' roles paralleled their lives off screen added realism to the film.^[9] De Sica cast Maggiorani when he had brought his young son to an audition for the film. He later cast the 8-year-old Enzo Staiola when he noticed the young boy watching the film's production on a street while helping his father sell flowers. The film's final shot of Antonio and Bruno walking away from the camera into the distance is an homage to many Charlie Chaplin films, who was De Sica's favourite filmmaker.^[10]

Uncovering the drama in everyday life, the wonderful in the daily news.

— Vittorio De Sica in Abbiamo domandato a De Sica perché fa un film dal Ladro di biciclette (We asked De Sica why he makes a movie on the Bicycle Thief) – La fiera letteraria, 6/2/48

Translated title[edit]

The original Italian title literally translates into English as Bicycle Thieves, biciclette and ladri being plural, but the film has usually been released in the United States as The Bicycle Thief. According to critic Philip French of The Observer (UK), this alternative title is misleading, "because the desperate hero eventually becomes himself a bicycle thief".^[11] The film is released in the UK as the more accurate Bicycle Thieves, and the recent Criterion Collection release in North America uses the plural title.^[12]

When the film was re-released in the late 1990s Bob Graham, staff film critic for the San Francisco Chronicle, was quoted as saying that he preferred the title The Bicycle Thief, stating, "Purists have criticized the English title of the film as a poor translation of the Italian ladri, which is plural. What blindness! The Bicycle Thief is one of those wonderful titles whose power does not sink in until the film is over".^[13]

De Sica changed many aspects of Bartolini's novel, but retained the title, which used the plural form and referred, in the book, to a post-war culture of rampant thievery and disrespect for civil order countered only by an inept police force and indifferent allied occupiers.^[14]

Critical reception[edit]

When Bicycle Thieves was released in Italy, it was viewed with hostility and as portraying Italians in a negative way. Italian critic Guido Aristarco praised it, but also complained that "sentimentality might at times take the place of artistic emotion." Fellow Italian neorealist film director Luchino Visconti criticized the film, saying that it was a mistake to use a professional actor to dub over Lamberto Maggiorani's dialogue.^[10] Luigi Bartolini, the author of the novel from which de Sica drew his title, was highly critical of the film, feeling that the spirit of his book had been thoroughly betrayed, since his protagonist was a middle-class intellectual and his theme was the breakdown of civil order in the face of anarchic communism.^[14]

Bicycle Thieves has received acclaim from critics ever since its release, with the film-review aggregator Rotten Tomatoes reporting 98% positive reviews from 54 reviews, with an average 9.1 out of 10 rating.^[15] The picture is also in the Vatican's Best Films List for portraying humanistic values.^[16]

Bosley Crowther, film critic for The New York Times, lauded the film and its message in his review. He wrote, "Again the Italians have sent us a brilliant and devastating film in Vittorio De Sica's rueful drama of modern city life, The Bicycle Thief. Widely and fervently heralded by those who had seen it abroad (where it already has won several prizes at various film festivals), this heart-tearing picture of frustration, which came to [the World Theater] yesterday, bids fair to fulfill all the forecasts of its absolute triumph over here. For once more the talented De Sica, who gave us the shattering Shoeshine, that desperately tragic demonstration of juvenile corruption in post-war Rome, has laid hold upon and sharply imaged in simple and realistic terms a major—indeed, a fundamental and universal—dramatic theme. It is the isolation and loneliness of the little man in this complex social world that is ironically blessed with institutions to comfort and protect mankind".^[17] Pierre Leprohon wrote in Cinéma D'Aujourd that "what must not be ignored on the social level is that the character is shown not at the beginning of a crisis but at its outcome. One need only to look at his face, his uncertain gait, his hesitant or fearful attitudes to understand that Ricci is already a victim, a diminished man who has lost his confidence." Lotte Eisner called it the best Italian film since World War II and Robert Winnington called it "the most successful record of any foreign film in British cinema."^[10]

When the film was re-released in the late 1990s Bob Graham, staff film critic for the San Francisco Chronicle, gave the drama a positive review: "The roles are played by non-actors, Lamberto Maggiorani as the father and Enzo Staiola as the solemn boy, who sometimes appears to be a miniature man. They bring a grave dignity to De Sica's unblinking view of post-war Italy. The wheel of life turns and grinds people down; the man who was riding high in the morning is brought low by nightfall. It is impossible to imagine this story in any other form than De Sica's. The new black-and-white print has an extraordinary range of grey tones that get darker as life closes in".^[13]

Legacy[edit]

The film was a major influence on film directors of the Iranian New Wave, such as Jafar Panahi^[18] and Dariush Mehrjui.^[19] Other directors that called it an influence are Satyajit Ray,^[20] Ken Loach,^[21] Giorgio Mangiamele,^[22] Bimal Roy,^[23] Anurag Kashyap,^[24] Balu Mahendra,^[25] Basu Chatterjee^[26] and Isao Takahata.

The film was used as source material for the 1985 cult classic Pee-Wee's Big Adventure.^[27]

The film was parodied in the 1989 film The Icicle Thief.

Bicycle Thieves was featured in Robert Altman's 1992 film The Player.

Awards[edit]

• Locarno International Film Festival, Switzerland: Special Prize of the Jury, Vittorio De Sica; 1949.
• National Board of Review: NBR Award, Best Director, Vittorio De Sica; Best Film (Any Language), Italy; 1949.
• New York Film Critics Circle Awards: NYFCC Award, Best Foreign Language Film, Italy; 1949.
• Academy Awards: Honorary Award, Italy. Voted by the Academy Board of Governors as the most outstanding foreign language film released in the United States during 1949; 1950.
• Academy Awards: Nominated, Oscar, Best Writing, Screenplay, Cesare Zavattini; 1950.
• British Academy of Film and Television Arts: BAFTA Film Award, Best Film from any Source; 1950.
• Bodil Awards, Copenhagen, Denmark: Bodil, Best European Film (Bedste europæiske film), Vittorio De Sica; 1950.
• Golden Globes: Golden Globe, Best Foreign Film, Italy; 1950.
• Cinema Writers Circle Awards, Spain: CEC Award, Best Foreign Film (Mejor Película Extranjera), Italy; 1951.
• Kinema Junpo Awards, Tokyo, Japan: Kinema Junpo Award, Best Foreign Language Film, Vittorio De Sica; 1951.
• Best Cinematography (Migliore Fotografia), Carlo Montuori.
• Best Director (Migliore Regia), Vittorio De Sica.
• Best Film (Miglior Film a Soggetto).
• Best Score (Miglior Commento Musicale), Alessandro Cicognini.
• Best Screenplay (Migliore Sceneggiatura), Cesare Zavattini, Vittorio De Sica, Suso Cecchi d'Amico, Oreste Biancoli, Adolfo Franci, and Gerardo Guerrieri.
• Best Story (Miglior Soggetto), Cesare Zavattini.
• Listed as one of TCM's top 15 most influential films list,^[28]
• Ranked #4 in Empire magazines "The 100 Best Films Of World Cinema" in 2010.^[29]

See also[edit]

• List of films considered the best

References[edit]

1. Jump up ^ Christopher Wagstaff (2007). Italian Neorealist Cinema. University of Toronto Press. Retrieved June 9, 2012. 
2. ^ Jump up to: ^{a b} "The Bicycle Thief (1949)". Box Office Mojo. Retrieved October 1, 2014. 
3. Jump up ^ Crowther, Bosley (December 13, 1949). "The Bicycle Thief (1948) THE SCREEN; Vittorio De Sica's 'The Bicycle Thief,' a Drama of Post-War Rome, Arrives at World". The New York Times. 
4. Jump up ^ Ebert, Roger (March 19, 1999). "The Bicycle Thief / Bicycle Thieves (1949) review". Chicago Sun-Times. Archived from the original on July 20, 2010. Retrieved July 20, 2010. 
5. Jump up ^ Sight and Sound Top Ten Poll, director's list 2002. Last accessed: 2014-01-19.
6. Jump up ^ Megan, Ratner. GreenCine, "Italian Neo-Realism," 2005. Last accessed: December 30, 2007.
7. Jump up ^ Wakeman, John. World Film Directors, Volume 1. The H. W. Wilson Company. 1987. pp. 232.
8. Jump up ^ Gordon, Robert (2008). Bicycle Thieves (Ladri Di Biciclette). New York: Macmillan. pp. 3–4. ISBN 9781844572380. Retrieved 17 August 2015. 
9. Jump up ^ Associated Press. Published in The New York Times. Lamberto Maggiorani Obituary. April 24, 1983. Last accessed: December 30, 2007.
10. ^ Jump up to: ^{a b c} Wakeman. pp. 232.
11. Jump up ^ French, Philip. The Guardian, DVD review, February 19, 2006. Last accessed: December 30, 2007.
12. Jump up ^ DVD Talk review of the Criterion Collection DVD, 17 Feb, 2007.
13. ^ Jump up to: ^{a b} Graham, Bob. San Francisco Chronicle, film review, November 6, 1998. Last accessed: December 30, 2007.
14. ^ Jump up to: ^{a b} Healey, Robin (1998). Twentieth-century Italian Literature in English Translation: An Annotated Bibliography 1929-1997. Toronto: University of Toronto Press. p. 49. ISBN 0802008003. Retrieved 17 August 2015. 
15. Jump up ^ "The Bicycle Thief (1949)". Rotten Tomatoes. Retrieved January 7, 2016. 
16. Jump up ^ United States Conference of Catholic Bishops website, 2008. Last accessed: May 20, 2008.
17. Jump up ^ Crowther, Bosley. The New York Times, film review, "Vittorio De Sica's The Bicycle Thief, a Drama of Post-War Rome, Arrives at World", December 13, 1949. Last accessed: December 30, 2007.
18. Jump up ^ "Remarks by JAFAR PANAHI". Film Scouts LLC. Retrieved 22 May 2012. 
19. Jump up ^ Wakeman, John. World Film Directors, Volume 2. The H. W. Wilson Company. 1988. 663–669.
20. Jump up ^ Robinson, A. Satyajit Ray: A Vision of Cinema. I. B. Tauris.2005. ISBN 1-84511-074-9. p. 48.
21. Jump up ^ Lamont, Tom. "Films that changed my life: Ken Loach". London: The Observer. Retrieved May 2010. 
22. Jump up ^ National Film and Sound Archive: 'Il Contratto' on Australianscreen
23. Jump up ^ Anwar Huda (2004). The Art and science of Cinema. Atlantic Publishers & Dist. p. 100. ISBN 81-269-0348-1. 
24. Jump up ^ Akbar, Irena (14 June 2008). "Why Sica Moved Patna". Indian Express Archive. Retrieved 4 May 2015. 
25. Jump up ^ Mahendra, Balu (7 September 2012). "சினிமாவும் நானும்...." (in Tamil). filmmakerbalumahendra.blogspot.in. Retrieved 9 June 2014. 
26. Jump up ^ "A Manzil of Memories: Rare Memorabilia Of Basu Chatterji’s Films". Learning & Creativity. 2014-04-25. Retrieved 2014-05-27. 
27. Jump up ^ "Paul Reubens". The New York Times. 
28. Jump up ^ Ebert, Roger. "TCM's 15 most influential films of all time, and 10 from me | Roger Ebert's Journal". Roger Ebert. Retrieved 2013-06-29. 
29. Jump up ^ "The 100 Best Films Of World Cinema". Empire. 

External links[edit]

Wikiquote has quotations related to: Bicycle Thieves

• Bicycle Thieves at the Internet Movie Database
• Bicycle Thieves is available for free download at the Internet Archive (German dialogue)
• Bicycle Thieves essay at Criterion Collection by Godfrey Cheshire ("Bicycle Thieves: A Passionate Commitment to the Real")
• Bicycle Thieves essay at Criterion Collection by Charles Burnett ("Bicycle Thieves: Ode to the Common Man")
• Bicycle Thieves video film review on YouTube by A. O. Scott (The New York Times) at YouTube
• Bicycle Thieves trailer on YouTube

[show]

• v
• t
• e

Films directed by Vittorio De Sica

• Red Roses (1940)
• Maddalena, Zero for Conduct (1940)
• Teresa Venerdì (1941)
• Un garibaldino al convento (1942)
• The Children Are Watching Us (1944)
• La porta del cielo (1945)
• Shoeshine (1946)
• Heart and Soul (1948)
• Bicycle Thieves (1948)
• Miracle in Milan (1951)
• Umberto D. (1952)
• It Happened in the Park (1953)
• Terminal Station (1953)
• The Gold of Naples (1954)
• The Roof (1956)
• Anna of Brooklyn (1958)
• Two Women (1961)
• The Last Judgment (1961)
• Boccaccio '70 (1962)
• The Condemned of Altona (1962)
• Il Boom (1963)
• Yesterday, Today and Tomorrow (1963)
• Marriage Italian Style (1964)
• Un monde nouveau (1966)
• After the Fox (1966)
• Woman Times Seven (1967)
• The Witches (1967)
• A Place for Lovers (1968)
• Sunflower (1970)
• The Garden of the Finzi-Continis (1970)
• Lo chiameremo Andrea (1972)
• A Brief Vacation (1973)
• The Voyage (1974)

[show] v t e Academy Honorary Award
1928–1950	Warner Bros. / Charlie Chaplin (1928) Walt Disney (1932) Shirley Temple (1934) D. W. Griffith (1935) The March of Time / W. Howard Greene and Harold Rosson (1936) Edgar Bergen / W. Howard Greene / Museum of Modern Art Film Library / Mack Sennett (1937) J. Arthur Ball / Walt Disney / Deanna Durbin and Mickey Rooney / Gordon Jennings, Jan Domela, Devereaux Jennings, Irmin Roberts, Art Smith, Farciot Edouart, Loyal Griggs, Loren L. Ryder, Harry D. Mills, Louis Mesenkop, Walter Oberst / Oliver T. Marsh and Allen Davey / Harry Warner (1938) Douglas Fairbanks / Judy Garland / William Cameron Menzies / Motion Picture Relief Fund (Jean Hersholt, Ralph Morgan, Ralph Block, Conrad Nagel)/ Technicolor Company (1939) Bob Hope / Nathan Levinson (1940) Walt Disney, William Garity, John N. A. Hawkins, and the RCA Manufacturing Company / Leopold Stokowski and his associates / Rey Scott / British Ministry of Information (1941) Charles Boyer / Noël Coward / Metro-Goldwyn-Mayer (1942) George Pal (1943) Bob Hope / Margaret O'Brien (1944) Republic Studio, Daniel J. Bloomberg, and the Republic Studio Sound Department / Walter Wanger / The House I Live In / Peggy Ann Garner (1945) Harold Russell / Laurence Olivier / Ernst Lubitsch / Claude Jarman Jr. (1946) James Baskett / Thomas Armat, William Nicholas Selig, Albert E. Smith, and George Kirke Spoor / Bill and Coo / Shoeshine (1947) Walter Wanger / Monsieur Vincent / Sid Grauman / Adolph Zukor (1948) Jean Hersholt / Fred Astaire / Cecil B. DeMille / The Bicycle Thief (1949) Louis B. Mayer / George Murphy / The Walls of Malapaga (1950)
1951–1975	Gene Kelly / Rashomon (1951) Merian C. Cooper / Bob Hope / Harold Lloyd / George Mitchell / Joseph M. Schenck / Forbidden Games (1952) 20th Century-Fox Film Corporation / Bell & Howell Company / Joseph Breen / Pete Smith (1953) Bausch & Lomb Optical Company / Danny Kaye / Kemp Niver / Greta Garbo / Jon Whiteley / Vincent Winter / Gate of Hell (1954) Samurai I: Musashi Miyamoto (1955) Eddie Cantor (1956) Society of Motion Picture and Television Engineers / Gilbert M. "Broncho Billy" Anderson / Charles Brackett / B. B. Kahane (1957) Maurice Cheval‎ier (1958) Buster Keaton / Lee de Forest (1959) Gary Cooper / Stan Laurel / Hayley Mills (1960) William L. Hendricks / Fred L. Metzler / Jerome Robbins (1961) William J. Tuttle (1964) Bob Hope (1965) Yakima Canutt / Y. Frank Freeman (1966) Arthur Freed (1967) John Chambers / Onna White (1968) Cary Grant (1969) Lillian Gish / Orson Welles (1970) Charlie Chaplin (1971) Charles S. Boren / Edward G. Robinson (1972) Henri Langlois / Groucho Marx (1973) Howard Hawks / Jean Renoir (1974) Mary Pickford (1975)
1976–2000	Margaret Booth (1977) Walter Lantz / Laurence Olivier / King Vidor / Museum of Modern Art Department of Film (1978) Hal Elias / Alec Guinness (1979) Henry Fonda (1980) Barbara Stanwyck (1981) Mickey Rooney (1982) Hal Roach (1983) James Stewart / National Endowment for the Arts (1984) Paul Newman / Alex North (1985) Ralph Bellamy (1986) Eastman Kodak Company / National Film Board of Canada (1988) Akira Kurosawa (1989) Sophia Loren / Myrna Loy (1990) Satyajit Ray (1991) Federico Fellini (1992) Deborah Kerr (1993) Michelangelo Antonioni (1994) Kirk Douglas / Chuck Jones (1995) Michael Kidd (1996) Stanley Donen (1997) Elia Kazan (1998) Andrzej Wajda (1999) Jack Cardiff / Ernest Lehman (2000)
2001–present	Sidney Poitier / Robert Redford (2001) Peter O'Toole (2002) Blake Edwards (2003) Sidney Lumet (2004) Robert Altman (2005) Ennio Morricone (2006) Robert F. Boyle (2007) Lauren Bacall / Roger Corman / Gordon Willis (2009) Kevin Brownlow / Jean-Luc Godard / Eli Wallach (2010) James Earl Jones / Dick Smith (2011) D. A. Pennebaker / Hal Needham / George Stevens Jr. (2012) Angela Lansbury / Steve Martin / Piero Tosi (2013) Jean-Claude Carrière / Hayao Miyazaki / Maureen O'Hara (2014) Spike Lee / Gena Rowlands (2015)

[show] v t e Academy Award for Best Foreign Language Film (Winners)
1947–1955 (Honorary)	1947: Shoe-Shine – Vittorio De Sica 1948: Monsieur Vincent – Maurice Cloche 1949: Bicycle Thieves – Vittorio De Sica 1950: The Walls of Malapaga – René Clément 1951: Rashomon – Akira Kurosawa 1952: Forbidden Games – René Clément 1954: Gate of Hell – Teinosuke Kinugasa 1955: Samurai, The Legend of Musashi – Hiroshi Inagaki
1956–1975	1956: La Strada – Federico Fellini 1957: Nights of Cabiria – Federico Fellini 1958: My Uncle – Jacques Tati 1959: Black Orpheus – Marcel Camus 1960: The Virgin Spring – Ingmar Bergman 1961: Through a Glass Darkly – Ingmar Bergman 1962: Sundays and Cybele – Serge Bourguignon 1963: 8½ – Federico Fellini 1964: Yesterday, Today and Tomorrow – Vittorio De Sica 1965: The Shop on Main Street – Ján Kadár & Elmar Klos 1966: A Man and a Woman – Claude Lelouch 1967: Closely Watched Trains – Jiří Menzel 1968: War and Peace – Sergei Bondarchuk 1969: Z – Costa-Gavras 1970: Investigation of a Citizen Above Suspicion – Elio Petri 1971: The Garden of the Finzi Continis – Vittorio De Sica 1972: The Discreet Charm of the Bourgeoisie – Luis Buñuel 1973: Day for Night – François Truffaut 1974: Amarcord – Federico Fellini 1975: Dersu Uzala – Akira Kurosawa
1976–2000	1976: Black and White in Color – Jean-Jacques Annaud 1977: Madame Rosa – Moshé Mizrahi 1978: Get Out Your Handkerchiefs – Bertrand Blier 1979: The Tin Drum – Volker Schlöndorff 1980: Moscow Does Not Believe in Tears – Vladimir Menshov 1981: Mephisto – István Szabó 1982: Volver a Empezar ('To Begin Again') – José Luis Garci 1983: Fanny and Alexander – Ingmar Bergman 1984: Dangerous Moves – Richard Dembo 1985: The Official Story – Luis Puenzo 1986: The Assault – Fons Rademakers 1987: Babette's Feast – Gabriel Axel 1988: Pelle the Conqueror – Bille August 1989: Cinema Paradiso – Giuseppe Tornatore 1990: Journey of Hope – Xavier Koller 1991: Mediterraneo – Gabriele Salvatores 1992: Indochine – Régis Wargnier 1993: Belle Époque – Fernando Trueba 1994: Burnt by the Sun – Nikita Mikhalkov 1995: Antonia's Line – Marleen Gorris 1996: Kolya – Jan Svěrák 1997: Character – Mike van Diem 1998: Life Is Beautiful – Roberto Benigni 1999: All About My Mother – Pedro Almodóvar 2000: Crouching Tiger, Hidden Dragon – Ang Lee
2001–present	2001: No Man's Land – Danis Tanović 2002: Nowhere in Africa – Caroline Link 2003: The Barbarian Invasions – Denys Arcand 2004: The Sea Inside – Alejandro Amenábar 2005: Tsotsi – Gavin Hood 2006: The Lives of Others – Florian Henckel von Donnersmarck 2007: The Counterfeiters – Stefan Ruzowitzky 2008: Departures – Yōjirō Takita 2009: The Secret in Their Eyes – Juan J. Campanella 2010: In a Better World – Susanne Bier 2011: A Separation – Asghar Farhadi 2012: Amour – Michael Haneke 2013: The Great Beauty – Paolo Sorrentino 2014: Ida – Paweł Pawlikowski 2015: Son of Saul – László Nemes
Submissions

[show] v t e BAFTA Award for Best Film
Best Film from Any Source 1947–1967	The Best Years of Our Lives (1947) Hamlet (1948) Bicycle Thieves (1949) All About Eve (1950) La Ronde (1951) The Sound Barrier (1952) Forbidden Games (1953) The Wages of Fear (1954) Richard III (1955) Gervaise (1956) The Bridge on the River Kwai (1957) Room at the Top (1958) Ben-Hur (1959) The Apartment (1960) Ballad of a Soldier (1961) The Hustler (1961) Lawrence of Arabia (1962) Tom Jones (1963) Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) My Fair Lady (1965) Who's Afraid of Virginia Woolf? (1966) A Man for All Seasons (1967)
Best Film 1968–present	The Graduate (1968) Midnight Cowboy (1969) Butch Cassidy and the Sundance Kid (1970) Sunday Bloody Sunday (1971) Cabaret (1972) Day for Night (1973) Lacombe, Lucien (1974) Alice Doesn't Live Here Anymore (1975) One Flew Over the Cuckoo's Nest (1976) Annie Hall (1977) Julia (1978) Manhattan (1979) The Elephant Man (1980) Chariots of Fire (1981) Gandhi (1982) Educating Rita (1983) The Killing Fields (1984) The Purple Rose of Cairo (1985) A Room with a View (1986) Jean de Florette (1987) The Last Emperor (1988) Dead Poets Society (1989) Goodfellas (1990) The Commitments (1991) Howards End (1992) Schindler's List (1993) Four Weddings and a Funeral (1994) Sense and Sensibility (1995) The English Patient (1996) The Full Monty (1997) Shakespeare in Love (1998) American Beauty (1999) Gladiator (2000) The Lord of the Rings: The Fellowship of the Ring (2001) The Pianist (2002) The Lord of the Rings: The Return of the King (2003) The Aviator (2004) Brokeback Mountain (2005) The Queen (2006) Atonement (2007) Slumdog Millionaire (2008) The Hurt Locker (2009) The King's Speech (2010) The Artist (2011) Argo (2012) 12 Years a Slave (2013) Boyhood (2014) The Revenant (2015)

[show]

• v
• t
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BFI Sight & Sound Poll

1952

• Bicycle Thieves
• City Lights
• The Gold Rush
• Battleship Potemkin
• Intolerance: Love's Struggle Throughout the Ages
• Louisiana Story
• Greed
• Le Jour Se Lève
• The Passion of Joan of Arc
• Brief Encounter
• The Rules of the Game
• Le Million

1962

• Citizen Kane
• L'Avventura
• The Rules of the Game
• Greed
• Ugetsu Monogatari
• Battleship Potemkin
• Bicycle Thieves
• Ivan the Terrible
• La Terra Trema
• L'Atalante

1972

• Citizen Kane
• The Rules of the Game
• Battleship Potemkin
• 8½
• L'Avventura
• Persona
• The Passion of Joan of Arc
• The General
• The Magnificent Ambersons
• Ugetsu Monogatari
• Wild Strawberries

1982

• Citizen Kane
• The Rules of the Game
• Seven Samurai
• Singin' in the Rain
• 8½
• Battleship Potemkin
• L'Avventura
• The Magnificent Ambersons
• Vertigo
• The General
• The Searchers

1992

Critics’	Citizen Kane The Rules of the Game Tokyo Story Vertigo The Searchers L'Atalante The Passion of Joan of Arc Pather Panchali Battleship Potemkin 2001: A Space Odyssey
Directors’	Citizen Kane 8½ Raging Bull La Strada L'Atalante The Godfather Modern Times Vertigo The Godfather Part II The Passion of Joan of Arc Rashomon Seven Samurai

2002

Critics’	Citizen Kane Vertigo The Rules of the Game The Godfather The Godfather Part II Tokyo Story 2001: A Space Odyssey Battleship Potemkin Sunrise 8½ Singin' in the Rain
Directors’	Citizen Kane The Godfather / The Godfather Part II 8½ Lawrence of Arabia Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb Bicycle Thieves Raging Bull Vertigo Rashomon The Rules of the Game Seven Samurai

2012

Critics’	Vertigo Citizen Kane Tokyo Story The Rules of the Game Sunrise 2001: A Space Odyssey The Searchers Man with a Movie Camera The Passion of Joan of Arc 8½
Directors’	Tokyo Story 2001: A Space Odyssey Citizen Kane 8½ Taxi Driver Apocalypse Now The Godfather Vertigo The Mirror Bicycle Thieves

Retrieved from "https://en.wikipedia.org/w/index.php?title=Bicycle_Thieves&oldid=722061843"

Categories:

• 1948 films
• 1949 films
• Italian-language films
• 1940s drama films
• Italian films
• Italian drama films
• Italian neorealist films
• Italian black-and-white films
• Art films
• Films based on Italian novels
• Films about Roman Catholicism
• Films set in Rome
• Best Foreign Language Film Academy Award winners
• Films awarded an Academy Honorary Award
• Best Film BAFTA Award winners
• Films directed by Vittorio De Sica
• Screenplays by Cesare Zavattini
• Screenplays by Suso Cecchi d'Amico
• Films about poverty