Comment on "Bicycle Boy", the way out for new neo-realism

Nellie 2022-12-11 20:44:55

The brothers of the Belgian film directors who sprang up in the mid-1990s, Jean-Pierre Dane and Luc Dane are considered to be the only continuations of Italian neo-realism in the contemporary era. We might as well call them neo-neo realism. They use realistic but smart images and stories rooted in reality but beyond reality. They have won a huge international reputation and are well-deserved darlings of Cannes.

The fierce and stubborn "Rosetta" fell into a desperate situation in life, and finally got redemption, reconciled with her friends, gave birth to a "son", his father wanted to sell him, but because of his conscience redeemed him , This "Child" has grown up and has become the "Bike Boy" with stubborn eyes like Rosetta.

"Bicycle Boy" is a reasonable continuation of the creative sequence of Darnet Brothers' film, and it is accompanied by transcendence. "Bicycle Boy" continues the previous civilian perspective, telling a simple story about only one person. The characters experience the trivial and trivial contradictions and pains for the social group, but the painful contradictions and pains for the individual. The image shows the Darnet brothers. The method is to follow the long shots, but try to make the connection between the shots smooth and coherent in the editing process, without affecting the development of the story. Unlike before, "Bike Boy" used unsupportive music for the first time to set off the atmosphere. Although the music appeared very restrained, only the climax of each scene appeared, but the appearance of the music marked the new reality of the Darnet brothers. Doctrine has taken a crucial step forward.

The most important feature of realism genre movies is to restore, to respect objective reality to the utmost extent, to use natural light and not to close the composition (...began to endorse). The use of music is also a very important part of it. When using music, you must There was on-site support, rejection of melodrama, and the use of external music for sensationalism. The Dannet brothers’ use of music this time is a departure and rebellion against realism in form, but this music is fundamentally different from the music that can be heard everywhere in "Deep Love and Rain". We will discuss this difference in detail below.

The neorealism movement in Italy slowly disappeared in the 1960s, and the directors who played a huge role in the movement have also moved on to their own paths. Fellini stepped into his dream and couldn't extricate himself from it, and Visconti became a complete aestheticism. The reason for the sudden disappearance of new realism and its sudden rise is the same, the social environment at that time. The greatness of New Realism is its irrefutable authenticity. It is simply a record and response to the society at that time. And as the bad social environment disappears, the economy recovers, and the people become well-being, new realism no longer has suitable soil, and it will naturally wither away.

When the society is in turmoil and the people don’t have a living, great literary and artistic works are often produced. This seems to be very different, but it is true...Pain is the best subject and infinite source of inspiration for an artist's creation. The Belgian economy has been on the rise from the late 1990s to the 2008 financial crisis. This has also put a severe test on the creations of the Danes. It is the time when new changes are required, but where is the direction?

In "Bike Boys", the Darnet brothers went out of their own direction, a combination of realism and mythological archetypes. "Bike Boy" is divided into four acts in total, trying to escape as the prologue, looking for his father until being abandoned by his father as the second act, being used by someone convicted of loving himself and finally falling into desperation as the third act, being killed by an enemy and resurrected as the first Four acts. This is the growth experience of an ordinary teenager, and at the same time the prototype of an epic story: a restricted male protagonist, looking for treasure (love), suffered a small ordeal (abandoned by his father), and got help (adopted) , Was bewitched by hypocrites (taken to steal money, stabbed adopters), was seriously injured, and was finally saved. This is the context of a complete myth, especially the killing and resurrection at the end, and it is a direct retelling of Christ.

However, the mythological archetype did not come to the front of the stage in this story. I remember that Brother Hu Qi said he didn't like Farewell My Concubine, Xiaodouzi sang the part of "Si Fan", thinking that the metaphor was too explicit. Indeed, the metaphor of the paragraph "Farewell My Concubine" clearly stood in front of the reality. It doesn't matter what Xiaodouzi really sang at that time, what is important is the meaning of Xiaodouzi's confusion about her own gender. "Bicycle Boy" is different from this. The reality of the whole film is clear. At a certain moment, the Cycling Boy is riding a bicycle and robbing. The story that happened has always been realistic. The mythological side does not compete with reality to reduce the authenticity. On the contrary, the mythical side and the realistic side are attached together, which makes its authenticity and metaphorical properties have been well preserved.

After talking so much, back to the music, what is the difference between the music in the film and the omnipresent soundtrack in the TV series. The difference is that "Bicycle Boy" still has a very high level of authenticity, and its situation is also extremely real. Therefore, the soundtrack that appears is the soundtrack that actually appears in the world of the cycling boy, which is a response of divine grace. Every time the soundtrack appears, it reflects the mercy of God. The soundtrack is the true reappearance of the divine grace at the moment the soundtrack appears, rather than imposing it.

This is the answer of the Darnet brothers to the new neo-realism, expanding the scope of recurring events, and using realism and mythological prototypes that do not conflict with each other.

Because I am a fan of the Dane brothers, this article has some strong words. However, the truly touching art, from the bottom of my heart, I still think it must be about people, and it must be a humanitarian art.



I'm sorry if I didn't write some visuals at the end, Mr. Qiu. The boy riding a bicycle always wears a bright red T-shirt or jacket in the film, which is an external manifestation of inner trauma. Look at other people's clothes, they are all white or blue or black, all to highlight the dazzling red of the boy on the bike. Cycling boys began to wrap themselves in the quilt and did not want to come out, which can also be seen as evidence of injury that they did not want to come out. Others... The lighting in most parts of the film is very realistic, while a few are a little bit refreshing.

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The Kid with a Bike quotes

  • Guy Catoul: It's too much. I can't look after him.

  • Wes: May I call you Pitbull?