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BenLaw said:I felt it's quality, however, was in being far from a simple working class = good tale as the fact that he succumbs to theft makes us more ambivalent about him but also makes us confront our own morality and recognise it as situational and also capable of influence by the filmmakers.
Though I'm pretty sure we're supposed to think that this man has been reduced to theft by a state incapable of supporting workers' needs. In fact the original bicycle thief is more impoverished than Ricci, and arguably becomes more sympathetic once we see the single room dwelling shared by his entire family.
BenLaw said:I missed what you'd said about slapstick but I assume you mean the closing chase scenes?
I'm thinking of the scene in the church, where the boy is slapped on the head by a priest in the confession booth, compared with the more dramatic slapping by the father minutes later. (Note the boy's very different reaction from one scene to the next.)
I don't think the end of Bicycle Thieves is meant to be slapstick at all, but rather makes explicit Ricci's moral corruption; not because he's an inherently bad person, but because he's been reduced to criminality out of desperation. The preponderance of bicycles in the scene becomes a taunt to Ricci, since a bicycle is the difference between his family's survival and destitution.
It's a useful to scene to look at in terms of how it departs from neorealist conventions. In the moments leading up to the theft, faster editing, more percussive music, and tighter, more subjective camerawork combine to create suspense. (These are actually quite fast edits for the time the film was made.)
http://www.youtube.com/watch?v=C_lJbSJoIuw
"Neorealist" filmmakers were not averse to employing highly manipulative techniques to communicate their political message.