In Vittorio De Sica’s film Ladri Di Bicyclette (1948), many vivid images remain in viewers minds after watching the enduring portrayal of post-war Italian poverty and misery. Originated from writings, De Sica followed the influential distinctive film movement of Italian Neorealism, concentrating on the “sad, daily phenomenon” of working class people facing harsh economic struggles in the aftermath of World War II. Lardri Di Bicyclette’s pre-Revolutionary ways of depicting a different reality through the mis-en-scene camera work, use of non-professional acting and a moralising plot creates a sense of reality for the audience.
To begin, De Sica went for what seemed to be economically friendly approach to filming: shooting the film in actual outdoor locations instead of crafting a studio of his own. De Sica, however, has chosen to not replicate the architectural details of the real world in order to show it in camera to provoke the feeling of daily resonance portraying the level at or below poverty life.“It was really a need to tell the truth, to have the courage to tell the truth and to take the camera not inside the old studios at Cinecétta made of papier-mâché but take the camera into life, into reality.” (De Sica interview). Mis-en-scene is a ‘realistic’ technique…show more content… hat conveys meaning through the relationship of things that the audience can see in a shot, yet despite the lack of sound equipment used on set with dialogues dubbed through synchronising, this allowed the cameras to have more freedom of movement to create a more complex mis-en-scene because of the longer shots and takes to allow variety of details that can fit in one shot : as if we are looking with the view of a regular human-being, the method captures an essence of truth to the film that allows the audience