Perhaps the greatest film of all time, Bicycle Thieves serves as the ultimate and essential film of the Italian neorealism film movement and is a landmark of humanist cinema. The realism of the film remains to challenge me through its endlessly affecting moments, humanist commentaries and social criticisms. The film and its depiction of working class, post-war society really impacted me emotionally, leaving me to cry in the conclusion, and it is an essential experience between the obsessive yet almost shattered hope of a father and son as they desperately search for a stolen bicycle he needs for a rare job he is finally given of poster-hanging. The story and its naturalism, arresting visual poetry and lyricism, delivers such utterly absorbing, striking deliverance and execution from a concept which is littered with simplicity and supporting this are the devastating sequences played throughout the film such as when the father hangs the Rita Hayworth poster which provides an ironic contrast between the wealthy and the struggling poor and perfectly captures many intentions of neorealism, having possessed its many strengths, such as the simplicity, the highly melodramatic aspects and the main key: brutal honesty. Ultimately this film results as a high-quality and artistic examination of a soul torn by responsibility and moral consequences, which has the greatest non-professional acting put to film and therefore overall is the most unparalleled and unsurpassed milestone of cinematic history.