Before we launch into our accolades, sadly the Criterion transfer is again pictureboxed (see our description of 'pictureboxing' in our Kind Hearts and Coronets review). With an earlier spine #, Paul Robeson: Portraits of the Artist, not being pictureboxed many fans had high expectations that the highly important film Bicycle Thieves would avoid this practice. Unfortunately in many cases cineophile's hopes have been dashed.  

On the positive the Criterion image is stronger than we have ever seen De Sica's masterpiece on digital before - sharper, better contrast - far less damage marks (or far lesser in intensity). It has an atmospheric bitrate of 9.11 mb/s. Perhaps not as dramatic a DVD improvement as, say, 'Late Spring' over previous releases - it still deserves strong recognition and a great vote of thanks for Criterion's efforts.

The often problematic audio (Italian mono) even sounds superior to my tin ear. The Criterion package states 'The soundtrack was mastered at 24-bit from the 35mm optical soundtrack, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle.' An English DUB soundtrack is optionally included (like the Image Entertainment DVD) but this reviewer did not test it.

Extras are not as extensive as one might have hoped - no commentary and the first disc houses only the feature film. On Disc 2 there are three featurettes (almost 2 hours in total) - each offered with optional English subtitles. Working with De Sica lasts about 22 minutes and is a collection of interviews with screenwriter Suso Cecchi D'Amico, actor Enzo Staiola (Bruno), and film scholar Callisto Cosulich. I found it enjoyable and interesting. Life as It Is runs about 40 minutes giving good background on the history of Italian neorealism hosted by scholar Mark Shiel. Finally there is an hour-long documentary simply called Cesare Zavattini about the screenwriter and longtime Vittorio De Sica collaborator. It is directed by Carlo Lizzani and has input from many sources. Scenarist Cesare Zavattini also collaborated on Shoeshine, Miracle in Milan, and Umberto D, each highly regarded classics in the neorealist vein. The featurettes make a keen base for learning about De Sica's legendary film expressions and the man himself. Included in the package is an 80-page book featuring 2 theory essays by Andre Bazin and Cesare Zavattini and a more extensive section entitled Remembrances with writings by De Sica, Sergio Leone and others. It has many black and white photos on pastel colored pages.

This could successfully be argued as the greatest film of all time... possibly without much, or any, opposition. It is a journey - both poetic and allegorical - one for those who view it can rarely forget. This film is it - the one you want all family members to view as you encourage them away from the latest Hollywood blockbuster fodder of the week. Criterion have procured their restoration magic and it is easily a must-own DVD package that will vault to our Essentials listing. Highly recommended!

ADDITION: Arrow Films - February - 06': Yes, I wasn't expecting a vast improvement - but there definitely is some. Thankfully it appears to be both progressive and from the correct standard. The Arrow films has the best contrast and grey tone of the three releases. I would say it is on a par for the detail (tie-ing with the Image Entertainment) but it doesn't have the major contrast boosting of the Film sans Frontieres or the minor contrast boosting of the Image Entertainment. For the most part it is pretty good. Where it scores another point over the Image disc are the English subtitles are optional on the Arrow release as opposed to mandatory. Damage marks are relatively consistent in all three but are more prone to visibility when there is boosting (as in the Image and Film sans Frontieres). Extras are another area that the Arrow Films DVD eclipses both other editions. The included, almost hour long, documentary may not be prime supplement material but it was worth watching - more for de Sica than The Bicycle Thief in general. There are some negatives with the Arrow release - it appears to have the same minor cropping as the Films sans Frontieres - on all 4 sides.... and there were some absentee spots in dialogue translation in the subtitles. Nothing devastating but still unpleasant to detect. If you can live with those weaknesses then the Arrow Films is the release for you - I'm happy, but not ecstatic with it. Can Criterion come to this films rescue?  Please? Arrow has done a superior job but the film warrants more.

***