Highlight
1: Anton and his son and a group of friends go to the market to find a car. In this paragraph, the words of friends repeatedly appear, instructing everyone to split up to find parts of the bicycle, but everyone in the camera always acts together, supplemented by constantly changing market shots and noisy background sounds, fully showing the living conditions of marginalized people, namely The real panic under the pretense of order, and this state is actually the most direct reflection of life. There are both fears and fears about a poor life, and panic about the future. Under the combination, pretending to be calm is the inevitable result. It produces a self-defeating comedy effect, which makes people laugh and laugh, but it is also a reasonable and real reaction in the aftertaste, which can not help but make people sad.
2. A scene between Anton and his son by the river. Anton was so irritated by the fruitless search that he slapped his son, but then heard someone calling for the child to fall into the water by the river, Anton hurriedly stopped to look for his son, and anxiously saw his son appearing at a high place. on the bridge, sitting alone. The scene where the son appears at a high place is a rare scene in the whole film with the director’s subjective emotions. The whole film mostly uses unmodified non-narrative scenes to hide the director and show the film, resulting in a strong plain and rough documentary. The style, only in a few places, uses some on-camera language that clearly expresses the director's personal inclinations. The director is like a cold and kind person who jumps in front of the camera from time to time, but soon realizes his coldness. After hiding himself in the camera, the ruthless reality is re-presented. There is a large area of white in the picture. The son is sitting alone by the bridge at a high place, and there is a straight staircase in front of him. Anton seems to realize something, and the plot also begins to turn from here.
3. Anton and his son came to the restaurant for dinner. The singing in the restaurant was cheerful, and the diners were well-dressed, filled with happiness and joy. . Anton seemed to understand the true meaning of life, and put aside the troubles of the past few days, both of them showed smiles, as if there was no pressure and hardship in life. According to the normal thinking, this kind of bridge should be followed by a happy ending, but this romantic luxury is far from a cruel reality - Anton looked at the wallet helplessly, and came out of the restaurant, like waking up from a dream The same, back to the noisy crowd.
Objective and true realism style When it
comes to documentaryism or realism, there are generally two characteristics: one is that the techniques are mostly objective presentations, and the other is that the objects are mostly poor and toiling people. This film is typically characterized by a strong documentary style: the use of unrefined footage, rough editing, natural light shooting and the use of non-professional actors, etc., these series of elements create a This kind of objective and real perspective removes the personal expression of the director in the past in film art, and instead focuses on the depiction and description of objective reality, less condemnation and shouting, and more helplessness. Through the helpless reality, it impresses the audience and resonates.
The film is a reflection of the director’s personal, including values, aesthetics and even the director’s personal character, etc. Therefore, there are often some personal views of the director revealed in the film. These personal orientations as art are often necessary, because the characters in the film are living people. Requires a clear attitude - even a character with an ambiguous and ambiguous attitude is clear about its shaping itself, but realism is a style that takes the real presentation of real life as the highest pursuit and maximizes the To reduce the influence of the director on the role of the film, the two cores surrounding the entire film are truth and objectivity, and oppose the director's personal subjective tendencies.
However, does realism mean to obliterate the intention and will of the creator? Actually not, on the contrary, as a more sophisticated method, the creator of realism uses a series of methods to show the personal thoughts in the name of reality without any scruples, and does not worry about being criticized, because the director himself is rational , the true and objective aesthetic orientation, and the fit between thought and real life itself - the audience's sympathy for the characters may be the director's own voice, and this should be the director's brilliance.
Most of the objects portrayed in this type of film are the toiling masses. The suffering of the little people and the realism are naturally in harmony and depend on each other. Only through the realism can the little people show their suffering and helplessness, and the realism must realize their unique style through the little people. Match with other types. If a small person is matched with romanticism, it will become a legendary story. It is often seen in various works of art and will not be repeated here. It is worth mentioning that even the lonely hero of "Robinson Crusoe" also relies on a legendary experience. Suffering is no more, and people are encouraged and envied; and when realism meets a wealthy and carefree life, it is easy to produce the danger of praising money worship, not only will it not make the audience yearn for this kind of life, Sometimes, it is easy to cause the opposite effect and become a shameful flattery or show off. Only when the small people and realism are combined, the easy sympathy of the small people and the real objectivity of the realism are easy to take effect and achieve the creator's intention.
"Bicycle Thief" shows this distinctive feature of realism very well. Through objective and plain lens language, it tells the audience about the ordinary events in the life of a small person, without any ups and downs, and does not take care of the audience There is no preaching or condemnation in the experience of watching the movie, and some are just real life, full of helplessness, which makes the onlookers feel real, and thus produces a heart-wrenching pain.
Romantic conjectures about endings, and musings about bicycles
If a romantic ending was changed, Anton might not have gone from being a car thief to a car thief, or that the car thief could have escaped without being caught Catch, contemptible but comforting, or simply end the tragic telling in the dining room with all the joy, and end the tale in a ball of peace that won't make you feel bad. However, none of this will and should happen in this stern and objective film. Anton is desperate, but his life is ruthless. For the sake of living, for work, for the sake of his children and his family, Anton can only put his dignity as a human being in the end. Trample his feet and fall to the ground together with the hat on his head, but the child is innocent, so the child picks up the hat and sees the child's bitter pleading, people also forgive Anton, but life will not forgive or punish anyone. Alone, life is ruthless, so in the last shot, we can't see where Anton leads the child, but see the crowd, until we can't see anything.
Can we maintain human dignity when extreme poverty occurs? Thinking about this problem, we not only need to look at Anton's unfortunate encounter, but also need to look at the key point of the film's drama - the bicycle. Bicycles are undoubtedly important to Anton, and they are the guarantee of getting a job, but for car thieves, bicycles are just a resource for their continued survival. Indifferent to how important the bike is to Anton. The lack of human affection and the fiery attitude of the world shown here are very direct, but they are easy to be ignored. The audience is likely to only pay attention to Anton's misfortune, and feel ridiculous and indignant about the rogue behavior of the car thief afterward. However, the car thief is really Is it reprehensible? In fact, he is only one of the suffering crowd, so Anton in desperation did not force or harm the car thief, because Anton felt the pity of the rogue car thief - even more than He is even more pitiful. The car thief has long lived without dignity.
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