1. Ladri de Biccilette [Bicycle Thieves] (Vittorio De Sica)
Do you agree with Andre Bazin that Ladri de Biccilette is an example of ‘pure cinema’? (Bazin  p.60). To what extent is such a pure cinema possible and, in your opinion, which Italian Neo-realist film screened on the unit comes closest to it? Explain your reasoning.
This essay will address the characteristics of ‘pure cinema’ and the extent of its practical nature. It also seeks to analyse the film Ladri de Biccilette whilst exploring the traits of pure cinema in this film.
The definition of pure cinema refers to a cinema where real life is projected onto the screen in way that creates the illusion of reality. The more the …show more content…
There are many moments where the film fulfils its mission, as an Italian Neo-realist film, to screen the daily life of the worker, their sad and happy moments, struggles and times of relief, plus their values and beliefs. In the church scene, there are many layers of meaning skilfully constructed. The organisers of the church services are all wearing new and expensive clothes and very clearly show their superiority over the lay/ normal people, all of whom are wearing old and dirty clothes to the service. When the worker talks to an old man (who wanted to buy his stolen bicycle), one of the locals tells the worker that “talking is sinful”. It suggests that the organisers of the services are all quite well off and disconnected from the poor's suffering, while they are there to celebrate their relative prosperity in life by being able to give food away to the community. The religion advertised by these people does not allow for complaint, as it is said that “talking is sinful”. In this scene, the worker represents a group of Italians who are poor, but their dignity stops them from accepting charity. In the scene where there is a long queue of people waiting to ride the bus, there are some women who we see roughly pushed onto the bus amongst men. This scene, just on its own, claims that