By Robert S. C. Gordon
From Amazon: "Bicycle Thieves (Ladri di biciclette) Vittorio de Sica, 1948 is unarguably one of many basic motion pictures within the background of cinema. it's also essentially the most beguiling, relocating and (apparently) easy items of narrative cinema ever made. The movie tells the tale of 1 guy and his son, as they seek fruitlessly during the streets of Rome for his stolen bicycle; the bicycle which had ultimately freed him from the poverty and humiliation of longterm unemployment. considered one of a cluster of awesome motion pictures to come back out of post-war, post-Fascist Italy after 1945 – loosely labelled ‘neo-realist’ – Bicycle Thieves gained an Oscar in 1949, crowned the 1st Sight and Sound ballot of the easiest motion pictures of all time in 1952 and has been highly influential all through global cinema ever because. It is still an important element of reference for any cinematic engagement with the labyrinthine adventure of the trendy urban, the travails of poverty within the modern international, the complicated bond among fathers and sons, and the capability of the digicam to trap anything just like the essence of all of those. Robert S. C. Gordon’s BFI movie Classics quantity indicates how Bicycle Thieves is ripe for re-viewing, for rescuing from its necessary prestige as a neo-realist ‘classic’. It seems on the film’s drawn-out making plans and construction background, the colourful and riven context during which it used to be made, and the dynamic geography, geometry and sociology of the movie that resulted."
This isn't the world's most sensible experiment, however it is a readable replica of this hard-to-find publication until eventually a qualified test comes alongside.
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Extra resources for Bicycle Thieves (BFII Film Classics)
He had apparently requested to be relieved of his duties in the East and to return to Rome. Augustus was once again without an adult male heir and was once more forced to turn to Tiberius, who was now too busy for poetic composition. Augustus’ dynastic settlement involved a series of adoptions. He adopted Tiberius and Agrippa’s surviving son Agrippa Postumus. Tiberius adopted Drusus’ son Germanicus, husband of Agrippa’s younger daughter, Agrippina. Germanicus was the grandchild of Augustus’ sister Octavia and was thus a blood relative of both Augustus and Tiberius.
These two blocked marriages illustrate the growing political crisis in Rome. Sejanus’ bid to marry Livilla offered a means for Sejanus to be brought within the family and therefore provided Tiberius with an alternative route to an heir. The implications of such an alliance were clear. In AD 25, Tiberius was unwilling to turn aside from his own grandchild or the children of Germanicus and contemplate Sejanus as imperial heir or guardian of any such heir. Agrippina’s remarriage could not be allowed either and it is difficult to believe that her alleged appeal was more than rhetorical.
Tiberius had the slaves of the household tortured until confessions were extracted. It is clear that Sejanus was the obvious beneficiary of Drusus’ death. There may have been rumours of foul play at the time, some of which connected Tiberius himself to the death of his son, though Tacitus regards them as ridiculous, and we must remember that virtually any and every death in the imperial family was thought by at least someone to be the result of foul play. , Ann. IV 10–11). There was no immediate threat to Sejanus’ position after Drusus’ death.