On Bicycle Thieves by Kenzo Fukuda

We recently watched Vittorio De Sica’s Bicycle Thieves in Cine CLub with San Francisco Art & Film for Teenagers. The film follows Antonio Ricci, a poor father who is desperate to find his stolen bike because otherwise he would not be able to keep his job. The film displays the economic crisis of post-World War II Italy, specifically in Rome, through the eyes of Ricci and also his son Bruno Ricci. This leads to a juxtaposition in the view of their situation, between a father trying to provide for his family and a young boy who is forced to mature due to the circumstances.

At the start of the film, Antonio Ricci is portrayed as prideful, and a man of dignity. This is evident in the scene where he and his wife, Maria Ricci are in a fortune teller’s apartment and Antonio declares that he does not believe there is higher power, especially a sketchy fortune teller. But after his bike is stolen, he slowly begins to lose his pride and dignity because of what that would mean for his family and himself. It would mean failure to his wife, after his she sold their bed sheets to re-buy the bike, and action that showed faith to him. But because of the circumstances and the lack of opportunity, Antonio is forced to betray his own values in gestures of a worrying desperation. This is shown, through the fortune teller again, when Antonio and his son Bruno visit the her after a long afternoon of searching for the bike thief. The fortune teller tells them, “Either, you’ll find it now or you never will,” Antonio acts on these words and becoming a hypocrite to his own claim.

Bruno, on the other hand, is portrayed at the beginning of the film as innocent and oblivious. For example, when Bruno is cleaning the bike, he notices a dent and tells his father. Antonio brushes away his comment saying it will have to make due. Bruno responds by exclaiming that he would have told the man at the pawn shop so he could have it fixed. But what Bruno does not realize is that Antonio does not have time to have the bike fixed, it could cost him his job, and especially if the damage is something that can be managed without the cost of money and time. Later in the film, Bruno’s innocence and obliviousness slowly begin to deteriorate. He begins to realize this in the scene where Antonio takes him to an expensive restaurant out of guilt for hitting him earlier. The table next to them had a wealth family and a boy who was also Bruno’s age. The wealthy boy looks down on the way Bruno is dressed, the way he eats his food, and the way he acts. Bruno begins to realize that his family is not high in social standing. He begins to realize why his father is so desperate to recover the bike and they should not be at this fancy restaurant because the cost of the meal is detrimental to their situation. When Bruno realizes this, he stops eating, only for his father to insist that he finish his food. This is also where Bruno realizes his father is being a bit irresponsible, further shifting their dynamic.

The penultimate sequence that changes the father-son dynamic between the Antonio and Bruno is when Antonio steals someone’s bike out of desperation in front of his son Bruno. Several men catch him before he can get away and they sorely let him go because they did not want to arrest him in front of Bruno. The movie ends with Antonio holding Bruno’s hand for support; Bruno being forced to console his father, something that normally occurs the other way around. This final scene shows Antonio reduced to someone low enough to steal a bike, even though he was out of options. Had he not stolen the bike, he would have held pride and dignity but jobless. But if he successfully stole the bike, he would have job and could maybe scrape together some of his pride later. He was willing to sacrifice his own state of being to feed his family. In a time of survival, Antonio chose the short-term over long-term. Bruno’s innocence was lost in this entire ordeal. Witnessing his father become a thief right in front of him shattered any sense of good and bad morality that is easy to believe as a child. By the end of the film, Bruno is no longer a child because he is forced to carry this burden that his father failed to do.

Kenzo Fukuda, class of 2020

Cine Club by Rae Dox Kim

San Francisco Art & Film for Teenagers holds a weekly showing of a film at the picturesque SF Art Institute. The hike up the hill to the building is the ultimate test of faith, but makes for a great view. Prior to the film, you can watch the sun setting over the tourist district or look for stray cats under the bushes in the courtyard. There is always sparking water to sip as the lights go down in the theater, and an oatmeal cookie. The movie is paired with an animated short–often Looney Tunes, which aptly sets the stage for the war film or deep inspection of our human experience that follows. You are instructed to spend five minutes, not a moment less, meeting your fellow moviegoers.

The great joy of Cine Club is that I will see movies there that I would not see otherwise, in different languages, set in the past and even the future. Many of the high-budget blockbusters in the American theaters of today are limited to one perspective. The movies shown at Cine Club are more than drawn-out plot progression and attractive CGI action scenes. They demonstrate powers of cinematography, well-written dialogue (or lack thereof… some of the films are more silent than not) and immaculate design. They do not lean on the guarantee of a happily-ever-after conclusion. These are films recognized as classics, critical to an education in media. Sitting in that theater, I have learned more about movies and about life than in any class.

Attending Cine Club is an assignment for Creative Writing, but once I sit down and torture the little tables on the armrests into a horizontal position, I can’t help but feel content. I am surrounded by people who aren’t just there to see a movie, but to find some kind of meaning in art. And later, while churning out a reflection on the movie I have seen, I feel that contentment again.

Rae Dox Kim, class of 2020

The Army of Shadows

Friday 17: Cine/Club: Randall Museum

Jean Pierre Melville’s THE ARMY OF SHADOWS (1995, France)

Another film that fills you in on some of the fascinating events of WWII that may not be covered in your social studies class. In this case, the French Resistance: a group of unusual French citizens working to sabotage the Nazis any way they can in occupied France. Unfortunately, the Nazis are slowly reducing their numbers. Who is giving them away to the enemy? Could it be one of their own?


The Army of Shadows gives you a tremendous context in which to place your knowledge of WWII. Lots of ordinary citizens gave their lives to resist the Nazis, and the group of people in the film come from real life. The film acts like a thriller, but also is filled with carefully etched personalities, and a great suspenseful plot. All the major people in the film lived through these events, so they can nautrually bring them vividly to life. You’ll be on the edge of your seats.


Jean Pierre Melville adopted the last name of his favorite writer, Herman Melville (Moby Dick). Much of his life follows the same unsual pattern. During WW II he worked in the French Resistance against the Nazis. Refused in his attempts to work in film, he decided to make his own films with his own money, and eventually owned his own studio. His friendship with Godard (another film maker associated with the French “new wave”) led to his habit of filming on location—but his fondness for America gangster films can be found in all his early films—the weapons,coats, fedoras dot many of his “film noirs” like Le Samurai and Le Circle Rouge. He is not very well known in the U.S.

Cine/Club – Art&Film for Teenagers

For all the new students coming in, Art&Film is a great, free program for teens that we’re required to attend twice per marking period. Hosted by Ronald Chase, it offers screenings of classic, foreign, and art films, along with either a short film or a cartoon before the movie and a group discussion after. Cookies and sparkling water are offered in the lobbies before we enter the theater.

Art&Film is hosted at either the Randall Museum (199 Museum Way) or the Dolby Screening Room (100 Potrero Ave). Arrival at 6:30, film at 7:00, unless otherwise specified.

Subscribe to the Art&Film email for updates on the next CineClub screening and opportunities of free tickets for the SF Symphony, Opera, and many other shows. To subscribe, visit the Art&Film website or simply fill out a card on your next CineClub visit.