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Bicycle Thieves AI simulator
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Bicycle Thieves AI simulator
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Bicycle Thieves
Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief, is a 1948 Italian neorealist drama film directed by Vittorio De Sica. It follows the story of a poor father searching in 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 the 1946 novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves received an Academy Honorary Award (most outstanding foreign language film) in 1950, and in 1952 was deemed the greatest film of all time by Sight & Sound magazine's poll of filmmakers and critics; fifty years later another poll organized by the same magazine ranked it sixth among the greatest-ever films. In the 2012 version of the list the film ranked 33rd among critics and 10th among directors.
The film was also cited by Turner Classic Movies as one of the most influential films in cinema history, and it is considered part of the canon of classic cinema. The film was voted number 3 on the prestigious Brussels 12 list at the 1958 World Expo, and number 4 in Empire magazine's "The 100 Best Films of World Cinema" in 2010. It was also included on the Italian Ministry of Cultural Heritage’s 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."
In post-World War II Rome, Antonio Ricci desperately needs work to support his wife Maria, his son Bruno and his small baby. He is offered a job posting advertising bills but tells Maria 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 bicycle.
On his first day of work, Antonio is at the top of a ladder when a young man steals his bicycle. Antonio runs after him but is thrown off the trail by the thief's confederates. The police file Antonio's complaint but say that there is little they can do.
Advised that stolen goods often surface at the Piazza Vittorio market, Antonio and his son go there with several friends. They find a bicycle frame that might be Antonio's, but the vendors refuse to allow them to examine the serial number. They call over a carabiniere, who orders the vendors to allow him to read the serial number. It does not match that of the missing bicycle, but the officer won't allow them to examine it for themselves.
At the Porta Portese market, Antonio and Bruno spot someone he believes to be the thief with an old man. The thief eludes them and the old man feigns ignorance. They follow him into a church where he too slips away from them.
Antonio pursues the thief into a brothel, whose denizens 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. Bruno fetches a policeman, who searches the thief's apartment without success. 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 leave in despair amid jeers and threats from the crowd.
Bicycle Thieves
Bicycle Thieves (Italian: Ladri di biciclette), also known as The Bicycle Thief, is a 1948 Italian neorealist drama film directed by Vittorio De Sica. It follows the story of a poor father searching in 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 the 1946 novel by Luigi Bartolini, and starring Lamberto Maggiorani as the desperate father and Enzo Staiola as his plucky young son, Bicycle Thieves received an Academy Honorary Award (most outstanding foreign language film) in 1950, and in 1952 was deemed the greatest film of all time by Sight & Sound magazine's poll of filmmakers and critics; fifty years later another poll organized by the same magazine ranked it sixth among the greatest-ever films. In the 2012 version of the list the film ranked 33rd among critics and 10th among directors.
The film was also cited by Turner Classic Movies as one of the most influential films in cinema history, and it is considered part of the canon of classic cinema. The film was voted number 3 on the prestigious Brussels 12 list at the 1958 World Expo, and number 4 in Empire magazine's "The 100 Best Films of World Cinema" in 2010. It was also included on the Italian Ministry of Cultural Heritage’s 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."
In post-World War II Rome, Antonio Ricci desperately needs work to support his wife Maria, his son Bruno and his small baby. He is offered a job posting advertising bills but tells Maria 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 bicycle.
On his first day of work, Antonio is at the top of a ladder when a young man steals his bicycle. Antonio runs after him but is thrown off the trail by the thief's confederates. The police file Antonio's complaint but say that there is little they can do.
Advised that stolen goods often surface at the Piazza Vittorio market, Antonio and his son go there with several friends. They find a bicycle frame that might be Antonio's, but the vendors refuse to allow them to examine the serial number. They call over a carabiniere, who orders the vendors to allow him to read the serial number. It does not match that of the missing bicycle, but the officer won't allow them to examine it for themselves.
At the Porta Portese market, Antonio and Bruno spot someone he believes to be the thief with an old man. The thief eludes them and the old man feigns ignorance. They follow him into a church where he too slips away from them.
Antonio pursues the thief into a brothel, whose denizens 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. Bruno fetches a policeman, who searches the thief's apartment without success. 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 leave in despair amid jeers and threats from the crowd.