The Bicycle Thief: analysis of a scene

Vittorio de Sica's The Bicycle Thieves is remembered as  one of the quintessential Italian neorealist films. The clip below illustrates several neorealist characteristics that defined films such as this one separate from their predecessors. Right away one notices the location. No sound stages, no Hollywood backdrops, just a simple, generic restaurant that gives off both an authentic Italian vibe as well as a sense of comfort and familiarity. Sica does not shy away from portraying the focal characters in this scene with stark contrasts. Without directly stating the discrepancies, the audience understands the differences between the father, Antonio Ricci, played by Lamberto Maggiorani, and his son, Bruno Ricci, played by Enzo Staiola, and the large family in the restaurant. Lavishly dressed, the other family is understood to be well-off, and Antonio and Bruno's yearning glances over to the family's table, covered with plates of food, suggests the Ricci's desire to live like this family, although they are constrained by their limited means. It's a contrast of wealth versus poverty, dreams versus reality, contrasts that materialized so fully in Italy following the war. However, de Sica balances the presentation of the Ricci's financial constraints with the optimistic mood created by the jolly music and by Antonio's uplifting spirits. The audience questions whether Antonio's mood is sustained to distract himself from his situation or whether Antonio simply believes in making the best of his situation. De Sica leaves the interpretation of Antonio's emotions open, but clearly hints at a mood of optimism and hope. This was a sentiment the Italian public desired to find following the war, that despite their undesirable realities, a feeling of hope would still permeate through the Italian streets.