This review originally appeared on the Chicagoland Bicycle Federation’s “Roll Film” movie review site (http://www.biketraffic.org/content.php?id=219_0_6_0). Each film was also reviewed by my CBF colleague, Greg Borzo, who focused more on the bike content.
MESSENGER
1 Wheel
I imagine the story behind the making of Messenger to be more entertaining and interesting then the film that was actually made. I must imagine it because little information is available about this deservedly obscure little project.
Aspiring writer/director, Norman Loftis, had a seemingly inspired idea – remake the Italian neo-realist classic, The Bicycle Thief, but have it set in a poverty stricken American ghetto to humanize the plight of young African-American families who have been left behind by society to an environment filled with crime and hopelessness. Like then unknown filmmakers, Kevin Smith or Robert Rodriguez, he would scrounge up a few thousand dollars, some cameras and some friends to bring his vision to the screen.
Unfortunately, Mr. Loftis forgot one thing. You have to have some degree of talent to make a good film. None is evident in the final product, which resembles the kind of home movies now typically shown on YouTube. I’ll give him the benefit of the doubt and assume his intentions were noble. Perhaps he didn’t envision a film filled with racist stereotypes of black ghetto culture, but that’s what he’s made.
Messenger’s plot faithfully follows the original Bicycle Thief in most details. One major exception is the protagonist is no longer accompanied by his son, but instead, by his pregnant wife. As in the original, we follow a poor man at the end of his rope. He uses the last of his savings to buy the bike required for his new job as a messenger. When his bike is stolen, he must confront his own morality in deciding how far he’ll go to provide for his family.
That leads to the other major difference between the two films. The hero of The Bicycle Thief is portrayed as a good man whose circumstances test him. Richard Barboza plays Messenger's title character as a thug ready to beat or even shoot anyone he feels threatened by. Its possible to bring such a role to life in a way the audience can relate to, but Barboza can’t act, which makes his character completely unlikable.
Of course Vittorio De Sica, who directed the original also used non-actors. This only works if you have a strong director to bring some authenticity out of the non-actor, something Messenger sorely lacks.To give some credit, however, I must admit there was one line of dialogue that I found clever and enjoyed. After the messenger’s bike is stolen, he gets in a cab and orders the driver to chase the thief. The driver responds, "What, do you think this is the movies?"
MESSENGER
1 Wheel
I imagine the story behind the making of Messenger to be more entertaining and interesting then the film that was actually made. I must imagine it because little information is available about this deservedly obscure little project.
Aspiring writer/director, Norman Loftis, had a seemingly inspired idea – remake the Italian neo-realist classic, The Bicycle Thief, but have it set in a poverty stricken American ghetto to humanize the plight of young African-American families who have been left behind by society to an environment filled with crime and hopelessness. Like then unknown filmmakers, Kevin Smith or Robert Rodriguez, he would scrounge up a few thousand dollars, some cameras and some friends to bring his vision to the screen.
Unfortunately, Mr. Loftis forgot one thing. You have to have some degree of talent to make a good film. None is evident in the final product, which resembles the kind of home movies now typically shown on YouTube. I’ll give him the benefit of the doubt and assume his intentions were noble. Perhaps he didn’t envision a film filled with racist stereotypes of black ghetto culture, but that’s what he’s made.
Messenger’s plot faithfully follows the original Bicycle Thief in most details. One major exception is the protagonist is no longer accompanied by his son, but instead, by his pregnant wife. As in the original, we follow a poor man at the end of his rope. He uses the last of his savings to buy the bike required for his new job as a messenger. When his bike is stolen, he must confront his own morality in deciding how far he’ll go to provide for his family.
That leads to the other major difference between the two films. The hero of The Bicycle Thief is portrayed as a good man whose circumstances test him. Richard Barboza plays Messenger's title character as a thug ready to beat or even shoot anyone he feels threatened by. Its possible to bring such a role to life in a way the audience can relate to, but Barboza can’t act, which makes his character completely unlikable.
Of course Vittorio De Sica, who directed the original also used non-actors. This only works if you have a strong director to bring some authenticity out of the non-actor, something Messenger sorely lacks.To give some credit, however, I must admit there was one line of dialogue that I found clever and enjoyed. After the messenger’s bike is stolen, he gets in a cab and orders the driver to chase the thief. The driver responds, "What, do you think this is the movies?"
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