Blueprints For One Person Go Kart

Solitude dell'antani not premature

Salve popolo!
I Menes menes sembrano riturarsi dai campi di battaglia perchè sconfitti dai Gufi nella fretta campagna lombarda.

Oggi non ho niente di particolare da scrivervi quindi riciclerò una specie di recensione che devo portare martedì all'università.
La recensione riguarda il capolavoro di Vittorio De Sica e Cesare Zavattini "Ladri di biciclette" (1948), se non l'avete mai visto sappiate che è uno dei 100 film da vedere assolutamente.
Ecco a voi la recensione:


Roma città chiusa
“Ladri di biciclette” (Vittorio De Sica; 1948), favola ed Odissea moderna, visione onirica dove l'oggetto del desiderio è onnipresente ma mai raggiungibile. Dolcezza, tristezza, delusione and anxiety are mixed and alternated in this post-war Rome, where our players (Antonio Ricci and his son Bruno) are both sucked and discarded. Marginalized from the crowd from the first sequence, which sees him apart from other unemployed looking for work, Anthony is a father and a husband to whom the war has taken everything but the hope seems to look out the door when he was offered a place attack that requires a bicycle, but he was stolen the first day of work, hence, to Antonio and his son Bruno, began his odyssey to search for the elusive bicycle, a symbol of hope for the rebirth and Welfare of the small family group. A Rome is deserted by backdrop for this small and universal drama, a hostile Rome, which tends to exclude: Our young heroes are hunted by Piazza Vittorio, is even mocked by the weather on their way to Portaportese upon their arrival in a restaurant are almost snubbed by waitresses, even in the church are asked to keep quiet or leave, the police, who should be on the side of the righteous, does not understand them.
omnipresent in every scene, as if to mock the two, are the bikes are at the Piazza Vittorio, the first stop of the trip: the subjective frantic Antonio and Bruno make us understand at the outset that the discovery of the bicycle is nearly impossible . A lot of bike runs in the pouring rain also Portaportese, like a river.
In any part of this drama De Sica shows us with infinite poetic mood of the characters with the first tentative plans in which it is increasingly apparent sadness and bewilderment in their eyes drawn. Like when, at one point, Antonio loses sight of Bruno and starts looking for screaming his name, or the masterful final sequence, when the baby takes his hand his father in tears, as if to lead him home, but not De Sica seems optimistic, in fact, father and son seemed to suck out from the crowd, in a Rome that does not look at anybody.

I leave.
-E-