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The cinematography stresses on the perceptive narrative role played by Antonio and his son there is the use of false continuity, an example of an irrational cut and false continuity is when Antonio is diverted by some church officials and loses the old man, these series from the time he loses sight of the old man to the moment Antonio and Bruno walk to a bridge, the camera movement is articulated via speedy cuts and concise shots which emphasize the desperation of the moment. In one moment Antonio and his son are pushing through the crowds of people in the church and in a flash they are shown leaving the courtyard and as a replacement for the previous camera position Antonio and Bruno are shown standing in front of a door. The neo-realistic style used in this movie is well illustrated when Antonio and Bruno enter a hotel and sit next to a rich family, the camera captures the rich girl from an angle pointing upwards as Bruno looks at her, an illustration of social perception that typify neo-realist films. A close up shot of Antonio suggests he wishes he could afford such a life for his family which is affirmed by his loud fantasies of how he will make much money from his job so long as he gets his bicycle back. Towards the end of the movie it captures on our better nature as father and son walk away hand in hand crying a sign of their bond in the tangential details of war torn building that Vittorio displays vividly. The movie is such a classic that people of all ages can relate to, Vittorio exhibits how family unit though neglected is the ultimate solution to our everyday hurdles. When the crowd manhandles Antonio and frog march him towards the police station, the mere gesture of his son running to him softens their hearts and they let them walk away.
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