ntonio demands the criminal's address. The old man is oblivious to both and only wants to know what he will be given to eat. De Sica's evaluation of the Catholic Church is clear. In a world in which the recovery of a bicycle stands between prosperity and starvation, a priest's promise of heaven has lost his power to comfort the poor. Sanctuaries have become soup kitchens, where well dressed women herd the parishioners like sheep, and lawyers serve as barbers and leads the litany. While the bourgeoisie must seduce the power to Mass, Roman women line up to spend their last lira on a clairvoyant. When Antonio losses hope -- admitting that even the saints cannot help him -- he too turns to Signora Santona. Hungry for a brighter future, her clients come to her as they once did to the church, confessing their problems. She in turn, provides them with metaphoric and cryptic answers. She tells Antonio that he will either find the bicycle now or not at all. She sounds like a charlatan but when Antonio and Bruno step into the street, the thief miraculously appears and the chase is on again. The criminal turns out to be a pathetic epileptic, just as destitute as Antonio. The police can offer no help without witnesses and evidence, so Antonio surrenders his fight without pressing charges. Hopeless, Antonio and Bruno wander aimlessly through the city streets, finally resting outside a soccer stadium. Hundreds of bicycles are parked outside. The crowdpours out, and Antonio is mesmerized by the sounds and sights of the cyclists riding by. In desperation, he dashes to steal a lone bicycle. He is immediately caught, threatened by his captors and humiliated in front of Bruno, compassionately, the owner allows Antonio to go without pressing charges. In tears, father and son are swallowed by the crowd walking silently into an uncertain future. (McGills Survey Of Cinema, p.1) It was the thematic richness in the "Bi...
