Tribute to film ancestors

After reading "The Bicycle Stealer", my heart is very heavy. You can probably guess the style of this movie based on my current mood. Believe your intuition, this is indeed a realistic movie, and it is said that it is a classic of Italian neorealism. As for what is the reality and what is the new reality, I think let us be confused before this question or understand them as a first-come-first-served relationship like me! In our experience, things that appear later tend to be newer. Now it’s time to get down to business. In my endless chatter, it seems necessary for me to echo the questions I mentioned at the beginning, and honestly explain what the film is and what it can do, and it has led me, who is full of sunshine in my life, into a heavy burden. in the atmosphere. I won't go into detail about the plot of the movie. I believe that if you open any book about the history of world cinema, you can see many experts and scholars describing the movie "The Bicycle Stealer". There are a lot of places in the film that I can't forget, especially when my father wanders anxiously on the street, fighting over whether to steal that bike, his conflicted eyes have captured me. Later I learned that neither the father who portrayed the inner drama incisively and vividly nor the son who is smart and intelligent are actually not professional actors. Recalling films such as Zhang Yimou's "No One Can Be Missed" and Jia Zhangke's Hometown Trilogy, it turns out that "The Bicycle Stealer" became their ancestor as early as 1948. This director is awesome!
Others say that Wang Xiaoshuai's "Seventeen-Year-Old Bicycle" is a tribute to this classic film. How do you think of these words? It looks like a big hat stuck on Wang Xiaoshuai's head. You can't screw them together just because the theme of bicycles appeared in both movies, right? The twisted melon is not sweet! Although the protagonist in "Seventeen-Year-Old Bicycle" is as persistent as the person in "The Bicycle Stealer" after losing his bicycle, at least he is not forced by life to find a bicycle, and can only steal one instead. level. It's just that I was a little surprised by the fact that in 1948, Italy, which has always advertised a liberal civilization and developed capitalism, had such abjectly poor residents. Perhaps in that era, the depiction of the suffering of the poor by the film was the mainstream of the era.
After his father was caught trying to steal a car, his son burst into the crowd with tears in his eyes and pulled his father's shirt tightly. Facing the slaps and censures from everyone, my father seemed dazed, ashamed, and overwhelmed. In the end, the owner of the bicycle saw his tearful son following him, and immediately gave up the decision to escort his father to the police station. It's the only bit of romance in the film, but even that romance seems heavy at the moment. Although the father was lucky enough to escape the prison, how will their future continue? The movie doesn't tell us any answers, its demise only leaves us with a heavy heart that makes us want to die and opens up our heavy thinking about life. And these things are deposited together, and the lingering sound is unforgettable for a long time.
Although movies are man-made art, I believe that nature is beauty. Although "The Bicycle Stealer" has gone through the vicissitudes of the years, it is a humming song of the nature of life. There is no trace of artificiality in the film even today. It is indeed the ancestor of neorealism, and it is really beautiful.

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