Bicycle Thieves full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In the post-World War II Val Melaina neighbourhood of Rome, Antonio Ricci (Lamberto Maggiorani) is desperate for work to support his wife Maria (Lianella Carell), his son Bruno (Enzo Staiola) and his small baby. He is offered a position posting advertising bills but tells Maria that he cannot accept because the job requires a bicycle. Maria resolutely strips the bed of her dowry bedsheets?—?prized possessions for a poor family?—?and takes them to the pawn shop, where they bring enough to redeem Antonio's pawned bicycle.

On his first day of work, Antonio is atop a ladder when a young man (Vittorio Antonucci) snatches the bicycle. Antonio gives chase but is thrown off the trail by the thief's confederates. The police warn that there is little they can do. Advised that stolen goods often surface at the Piazza Vittorio market, Antonio goes there with several friends and Bruno. They find a bike that might be Antonio's, but the serial numbers do not match.

At the Porta Portese market, Antonio and Bruno spot the thief with an old man. The thief eludes them and the old man feigns ignorance. They follow him into a church where he too slips away from them.

In a subsequent encounter with the thief, Antonio pursues him into a brothel, whose denizens eject them. In the street, hostile neighbours gather as Antonio accuses the thief, who conveniently falls into a fit for which the crowd blames Antonio. Bruno fetches a policeman, who searches the thief's apartment without any result. The policeman tells Antonio the case is weak?—?Antonio has no witnesses and the neighbors are certain to provide the thief with an alibi. Antonio and Bruno leave in despair amid jeers and threats from the crowd.

On their way home, they near Stadio Nazionale PNF football stadium. Antonio sees an unattended bike near a doorway and after much anguished soul-searching, instructs Bruno to take the streetcar to a stop nearby and wait. Antonio circles the unattended bicycle and jumps on it. Instantly the hue and cry is raised and Bruno – who has missed the streetcar – is stunned to see his father pursued, surrounded and pulled from the bike. As Antonio is being muscled toward the police station, the bicycle's owner notices Bruno and in a moment of compassion tells the others to release Antonio.

Antonio and Bruno then walk off slowly amid a buffeting crowd. Antonio fights back tears and Bruno takes his hand. The camera watches from behind as they disappear into the crowd.

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  The bike redeemed, the family saved

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  First day on the job

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  In search of the stolen bike

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  The thief's neighbors threaten Antonio

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  All seems lost

Bicycle Thieves is the best-known work of Italian neorealism, the movement (begun by Roberto Rossellini's 1945 Rome, Open City) which attempted to give cinema a new degree of realism. De Sica had just made the controversial film Shoeshine and was unable to get financial backing from any major studio for the film, so he raised the money himself from friends. Wanting to portray the poverty and unemployment of post-war Italy, he co-wrote a script with Cesare Zavattini and others using only the title and few plot devices of a little-known novel of the time by poet/artist Luigi Bartolini. Following the precepts of neorealism, De Sica shot only on location (that is, no studio sets) and cast only untrained nonactors. (Lamberto Maggiorani, for example, was a factory worker.) That some actors' roles paralleled their lives off screen added realism to the film. De Sica cast Maggiorani when he had brought his young son to an audition for the film. He later cast the 8-year-old Enzo Staiola when he noticed the young boy watching the film's production on a street while helping his father sell flowers. The film's final shot of Antonio and Bruno walking away from the camera into the distance is an homage to many Charlie Chaplin films, who was De Sica's favourite filmmaker.

Uncovering the drama in everyday life, the wonderful in the daily news.

—?Vittorio De Sica in Abbiamo domandato a De Sica perché fa un film dal Ladro di biciclette (We asked De Sica why he makes a movie on the Bicycle Thief) – La fiera letteraria, 6/2/48

The original Italian title is Ladri di biciclette. It literally translates into English as Bicycle Thieves, as there is no definite article and ladri is plural. The film was released as Bicycle Thieves in the United States and the United Kingdom. The poster titles were The Bicycle Thief in the US and The Bicycle Thieves in the UK.

Bosley Crowther used The Bicycle Thief in his 1949 review in The New York Times, and as a result this came to be the title by which the film was known in the United States, and some people became attached to it. When the film was re-released in the late 1990s Bob Graham, staff film critic for the San Francisco Chronicle, was quoted as saying that he preferred the title The Bicycle Thief, stating, "Purists have criticized the English title of the film as a poor translation of the Italian ladri, which is plural. What blindness! The Bicycle Thief is one of those wonderful titles whose power does not sink in until the film is over".

According to critic Philip French of The Observer, the alternative title The Bicycle Thief is misleading, "because the desperate hero eventually becomes himself a bicycle thief". The 2007 Criterion Collection release in North America uses the plural title.

De Sica changed many aspects of Bartolini's novel, but retained the title, which used the plural form and referred, in the book, to a post-war culture of rampant thievery and disrespect for civil order countered only by an inept police force and indifferent allied occupiers.