Michael Curtiz’s Casablanca (1942) and Vittorio De Sica’s Bicycle Thieves (1948) are great movies with definite objectives. The production years are relevant for both movies, and the themes presented are factual. Vittorio De Sica’s Bicycle Thieves fits Italian Neorealism where through the leading protagonist, Antonio Ricci, the movie depicts the prevalence of economic hardship within post-war Italy. On the other hand, Michael Curtiz’s Casablanca fits Classical Hollywood showing a a robust economy and the United State’s film-era growth. This essay will compare and contrast these two movies with various features.
Bicycle Thieves is an Italian Neorealism masterpiece that does not fully fit the classical Hollywood film (some features) compared to Casablanca because the protagonist’s life continues to deteriorate and lacks a happy ending; Antonio did not, in the end, repossess his bicycle and his life took a downward trail leaving him defeated and depressed. A normal Hollywood movie in 1948 typically has a happy ending, which sets Bicycle Thieves apart from the others. Additionally, although typical Hollywood movies are intended to make the spectator feel good at the end, Bicycle Thieves might leave several audiences dejected and unsatisfied. Admittedly, the film brilliantly reflects life’s injustices and failures; thus, it is probable to evoke comparable experiences of adversity within the audience’s imagination. Despite this, the film maintains a serious tone making its audience believe they are participants in the adventure. On the contrary, it follows some aspects of classical Hollywood since the film storyline is arranged chronologically.
The storyline of this movie is reinforced by the excellent utilization of mise-en-scene, particularly in terms of props, lighting, costumes. Even though the picture plays primarily black and white, the lighting varies (Bordwell et al. 17). Reduced lighting is employed, for example, at Antonio’s house and once he consults the seer. During such instances, the lighting underlines Antonio’s despair. In contrast, increased lighting is employed across most outdoor sequences, emphasizing the city’s tremendous scale. This accentuates the vast territory which Antonio must seek, emphasizing the enormous challenge that awaits him. Besides, the film applies cinematography, for example, using shots of different sizes to capture perspective and emotions. For instance, there are close-ups of Antonio’s face, displaying his immense despair and weariness. This allows the audience to connect with him and experience precisely what he is experiencing.
On the other hand, Casablanca is a typical classical Hollywood film; the film storyline is arranged chronologically. The main protagonists are universal and specific to the era they exist. Camera movement and focus are seen at the end of the film. For example, the camera follows Ilsa and Rick following the departure of Victor Laszlo and Captain Renault. The scene is shot from the side, blocking the point of view. Also, several motif instances are present, for example, repetition of the song “As Time Goes by,” as seen in several scenes. Casablanca was produced in a distinct style from The Bicycle Thieves. The Bicycle Thieves takes a documentary-style approach. Although it was emotionally and visually stunning, the film was primarily recorded on location and involved non-professional performers. Casablanca epitomized Hollywood’s Golden Age, but The Bicycle Thieves used unconventional ways and explored a broader filmmaking range. In addition, these two movies utilized narrative closure, a cinematography method that attempts to depict motion on-screen as realistically as feasible, and continuity editing that resolves the disputes and developments across the films, completing the causal connection chain.
Works Cited
Bordwell, David, Janet Staiger, and Kristin Thompson. The classical Hollywood cinema: Film style & mode of production to 1960. Columbia University Press, 1985.