
Ladri di biciclette
(Ladrón de bicicletas / Ladrones de bicicletas /
Bicycle Thieves / The Bicycle Thief.)
(Italia, 1948) [B/N, 93/88 m.].
Género: Drama social, Drama urbano, Drama familiar / Neorrealismo, Postguerra.
IMDb
Ficha técnica.
Dirección: Vittorio De Sica.
Asistentes de dirección: Luisa Alessandri, Gerardo Guerrieri, Sergio Leone (no acreditado).
Argumento: Luigi Bartolini (novela) / Cesare Zavattini.
Guión: Cesare Zavattini, Suso Cecchi d'Amico, Vittorio De Sica, Oreste Biancoli, Adolfo Franci, Gherardo Gherardi, Gerardo Guerrieri.
Fotografía: Carlo Montuori (B&W).
Música: Alessandro Cicognini / Giuseppe Cioffi (canción).
Producción: Giuseppe Amato, Vittorio De Sica (no acreditado).
Productora: P.D.S. (Produzioni De Sica).
Premios:
- 1949: Nominada al Oscar: Mejor guión. Premio Honorífico a la Mejor película extranjera
- 1949: Globo de Oro: Mejor película extranjera
- 1949: BAFTA: Mejor película
- 1949: 6 premios del Sindicato Nacional de periodistas italianos, incluyendo, película, director
- 1949: 2 premios National Board of Review: Mejor película, director
- 1949: Círculo de Críticos de Nueva York: Mejor película extranjera
Sinopsis: En la Roma de la posguerra, un obrero en paro consigue un sencillo trabajo pegando carteles a condición de que posea una bicicleta.
Obra maestra del neorrealismo italiano, y la más conocida de la famosa trilogía de De Sica -junto a "Umberto D." y "Milagro en Milán"-, fue una película clave de la posguerra que influyó notablemente en muchos directores europeos. (FILMAFFINITY)
Para trabajar fijando carteles, Antonio Ricci necesita usar su bicicleta. El primer día, alguien se la roba en un descuido. Si no la recupera antes del lunes, le despedirán.
Vittorio De Sica filmó una de las obras cumbres del neorrealismo, con actores no profesionales, como Lamberto Maggiorani, el protagonista, un auténtico parado de la construcción. Basada en una novela de Luigi Bartolini que tuvo cierto éxito, el film traza un retrato de las dificultades de la vida en Italia durante la postguerra. Lo mejor y más entrañable es la relación entre el protagonista y su hijo, que le tiene idealizado (DeCine21).


Antonio, un operaio disoccupato, trova impiego come attacchino municipale, ma la bicicletta di cui ha bisogno per lavorare, al momento si trova al Monte di Pietà e, per riscattarla, sua moglie Maria impegna le lenzuola. Dopo meno di un'ora di attacchinaggio, però, un ladruncolo ruba la preziosa bicicletta. Antonio tenta un inseguimento, ma non riesce a prenderlo e non gli resta che ritornare a casa in preda alla disperazione. Anche al Commissariato, dove denuncia il furto, non gli danno alcuna speranza. Nessuno si interessa al suo caso e Antonio inizia a vagare tra i rivenditori di biciclette accompagnato da suo figlio Bruno, un bambino di sei anni. Quando tra la folla intravedono il ladro, Antonio e Bruno iniziano a inseguirlo. In una Roma domenicale, i due trovano soltanto indifferenza e ostilità e alla fine, in preda alla disperazione, ad Antonio non rimane che tentare il furto. Sarà solo il pianto del suo bambino a salvarlo dalla polizia. (Cinematografo)
"L'aneddoto è debole specie alla partenza: una bicicletta di terza mano non è poi difficile da ottenere in Italia. Superato il piccolo impaccio iniziale, il racconto corre via geniale e felice. E' un capolavoro fatto di nulla, tra il primo Clair e il secondo Chaplin, pieno di delicate osservazioni d'ambiente, di trovate d'atmosfera: un'elegia nata sotto il segno della grazia, e che sarà difficile ripetere [...]". (Piero Bianchi, "Filmcritica", 6/7, giugno/luglio 1951)


AMG SYNOPSIS: This landmark Italian neorealist drama became one of the best-known and most widely acclaimed European movies, including a special Academy Award as "most outstanding foreign film" seven years before that Oscar category existed. Written primarily by neorealist pioneer Cesare Zavattini and directed by Vittorio DeSica, also one of the movement's main forces, the movie featured all the hallmarks of the neorealist style: a simple story about the lives of ordinary people, outdoor shooting and lighting, non-actors mixed together with actors, and a focus on social problems in the aftermath of World War II. Lamberto Maggiorani plays Antonio, an unemployed man who finds a coveted job that requires a bicycle. When it is stolen on his first day of work, Antonio and his young son Bruno (Enzo Staiola) begin a frantic search, learning valuable lessons along the way. The movie focuses on both the relationship between the father and the son and the larger framework of poverty and unemployment in postwar Italy. As in such other classic films as Shoeshine (1946), Umberto D. (1952), and his late masterpiece The Garden of the Finzi-Continis (1971), DeSica focuses on the ordinary details of ordinary lives as a way to dramatize wider social issues. As a result, The Bicycle Thief works as a sentimental study of a father and son, a historical document, a social statement, and a record of one of the century's most influential film movements. -- Leo Charney
AMG REVIEW: Though not the first Italian Neo-Realist film seen outside of Italy (or even Vittorio De Sica's first Neo-Realist work), The Bicycle Thief (1948) is considered the seminal film of the movement, alongside Roberto Rossellini's Rome, Open City (1945). Following the guiding Neo-Realist precept of drawing stories from the daily life of post-war Italy, De Sica and writer Cesare Zavattini carefully interweave a wider view of Italian culture with a portrait of the bond between a father and son, revealing the impact of poverty and bureaucratic absurdities on one of many struggling families. Shooting on location with non-professional actors in the two leads (well-coached by actor De Sica), De Sica's mobile camera transforms moments of Antonio's odyssey into poetic images of isolation and despair, while never losing sight of the gritty hardships of quotidian experience. An even greater international sensation than his first Neo-Realist film (Shoeshine (1946)), The Bicycle Thief earned a special Oscar for Best Foreign Film and became a signature work for a movement that also included Bitter Rice (1948), Luchino Visconti's La Terra Trema (1948), and De Sica's Umberto D. (1952). Inspiring filmmakers across the world as an alternative to expensive Hollywood fantasy, The Bicycle Thief revealed the potential power of combining local concerns with an unflinching cinematic style. -- Lucia Bozzola
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The.Bicycle.Thief.1948.1080p.BluRay.x264.AAC.mkv-Zen_Bud
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[ Info sul file ]
Nome: Ladri di biciclette (1948) [BDRip960p by Pitt@Sk8].mkv
Data: 29/05/2011 17:55:26
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[ Capitoli ]
L'assunzione in comune: 00:00:00,000 - 00:03:57,167
Il riscatto della biciclett: 00:03:57,167 - 00:09:50,500
Maria dalla Santona: 00:09:50,500 - 00:14:26,000
Primo giorno di lavoro: 00:14:26,000 - 00:19:05,292
Il furto della bicicletta: 00:19:05,292 - 00:22:09,958
La denuncia del furto: 00:22:09,958 - 00:25:48,208
La promessa d'aiuto: 00:25:48,208 - 00:30:18,625
La ricerca a Piazza Vittori: 00:30:18,625 - 00:38:58,750
La ricerca a Porta Portese: 00:38:58,750 - 00:43:07,833
L'inseguimento del ladro: 00:43:07,833 - 00:43:56,000
Il complice: 00:43:56,000 - 00:54:34,708
Lo schiaffo: 00:54:34,708 - 00:59:00,208
In trattoria: 00:59:00,208 - 01:04:41,000
Antonio dalla Santona: 01:04:41,000 - 01:09:13,750
Ritrovamento del ladro: 01:09:13,750 - 01:20:12,000
Ladro per disperazione: 01:20:12,000 - 01:26:56,458
Il pianto di Antonio: 01:26:56,458 - 01:28:13,000
Titoli di coda: 01:28:13,000 - [non specificato]
Rapporto generato da AVInaptic (18-11-2007) in data 29 mag 2011, h 18:08:11
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The.Bicycle.Thief.1948.720p.BluRay.x264-SiNNERS
Release......: 2011.02.18
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Runtime......: 90 min 40 sec
Versión BDRip HD 720p VO+SI 1,77 Gb. mkv.
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Release Title: Bicycle Theives 1948 720p BRRip x264 RmD (HDScene Release)
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Ladri di biciclette (Vittorio De Sica, 1948) DVDRip VOSE+AE
El ladrón de bicicletas (Vittorio De Sica, 1948) DVDRip Dual SE
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Filmografía temática Cine Socio-Político Italiano. Antología