Enzo Staiola - actor

Child star of neorealist classic Bicycle Thieves

Director Vittorio De Sica was struck by
Enzo Staiola's naturally expressive eyes

Enzo Staiola, who found international fame as an eight-year-old boy as one of the stars of the Oscar-winning neorealist drama Bicycle Thieves, was born on this day in 1939 in Rome.

Staiola’s character in Vittorio De Sica’s 1948 film was Bruno Ricci, the eldest child in a working class Roman family desperately trying to survive in the hard economic climate that followed the end of the Second World War.

The central character in the film is Bruno’s father, Antonio, who lands a job posting advertising bills around the city but is required to have a bicycle to transport himself, his ladder and bucket to wherever his services are required.

Antonio buys a bicycle after pawning some of the family’s few possessions of value only to have it stolen on his first day at work. The remainder of the film follows Antonio and Bruno as they try to find the bicycle.

The essence of the neorealist genre was that directors achieved authenticity by eschewing the use of professional actors in favour of ordinary people who lived in the city or neighbourhood where the action was set. 

De Sica chose Lamberto Maggiorani, a steel factory worker, to play the part of Antonio, turning down the chance to employ established Hollywood star Cary Grant.

Staiola with his Bicycle Thieves co-star Lamberto
Maggiorani, a factory worker who played his father

He picked Staiola as his Bruno almost by chance, after filming had already started. He recalled speaking to Maggiorani about what he wanted in the next scene when a crowd gathered round in the street where they were shooting. He noticed there was a young boy with particularly expressive eyes. It was Enzo. 

Unable to break off filming, De Sica dispatched an assistant to find out where the boy lived. In interviews years later, Staiola remembered being followed by a car as he walked home from school and, fearing he was about to be kidnapped, running as fast as he could until he reached the building, in Via Capo d’Africa, not far from the Colosseum, where his family lived.

The following day, De Sica decided to stage impromptu auditions in front of the building in the hope that Enzo would be curious enough to want to know what was going on.  Enzo did not disappoint and as he emerged from the building De Sica walked across to him, telling his crew ‘He’s the one.’

Staiola and another young hopeful took part in screen tests in front of De Sica, taking turns to act out the same scenes, but the director’s mind was made up. Staiola remembered being offered the part but being envious when the unsuccessful candidate was given a new bicycle as consolation for missing out.

Vittorio De Sica was a master
of the neorealism genre

Although Bicycle Thieves was given a decidedly lukewarm reception when it was released in Italy, where critics and audiences craved escapism rather than reminders of life’s daily struggles, in time it came to be regarded as a masterpiece was was cited by numerous film-makers as one of their biggest influences.

Released in the United States as The Bicycle Thief, the movie was named best foreign language film at the 22nd Academy Awards in 1950, winning a BAFTA - awarded by the British Academy of Film and Television Arts - as overall best film in the same year. 

Despite the success of Bicycle Thieves, Staiola’s acting career did not sustain him into adulthood. He appeared in another 12 films as a child, including, in 1954, a small part in The Barefoot Contessa, which starred Humphrey Bogart and Ava Gardner, but soon afterwards the parts began to dry up.

Thereafter, although he accepted cameo roles in two films as an adult, he lived a relatively anonymous life, working for many years in the offices of Rome’s catasto - land registry.

Now 81, he still lives in the Garbatella neighbourhood of Rome, where his family had its roots.

Garbatella is regarded as a charming district
with a village feel within the city

Travel tip:

Many of the houses in the Garbatella district of Rome - which adjoins the Testaccio and San Saba neighbourhoods to the south of the city - were created originally with the intention of housing workers on a proposed canal linking central Rome with the port of Ostia. In the event, the project never happened and the area was instead populated by families displaced when Mussolini flattened parts of the city to build the Via della Conciliazione, which leads to St Peter’s Square, and the Via dei Fori Imperiali, linking Piazza Venezia with the Colosseum. Nowadays, it is regarded as a charming neighbourhood characterised by streets lined with climbing bougainvillea and small squares with a village feel.

Stay in Rome with Booking.com

Rome's Colosseum is very close to Via Capo
d'Africa, where Staiola lived as a boy

Travel tip:

Via Capo d’Africa, where Staiola lived when he was given the part in Bicycle Thieves, is literally opposite the Colosseum, one of Rome’s most famous monuments. Built of travertine, tuff, and brick-faced concrete, the Colosseum was the largest of all the Roman amphitheatres. Construction began under Vespasian in 72AD and was completed by his son, Titus, in 80 with further modifications were made during the reign of Titus’s younger brother, Domitian (81–96), the three emperors who made up the Flavian dynasty. It is estimated the amphitheatre could hold up to 80,000 spectators.  It is thought that, having been known first as the Flavian Amphitheatre, it became known colloquially as the Colosseum because of its proximity to a colossal statue of Nero.

Rome accommodation from Booking.com

Also on this day:

1848: The murder of government minister Pellegrino Rossi

1905: The birth of conductor Annunzio Mantovani

1922: The birth of film director Francesco Rosi

1940: The birth of fashion designer Roberto Cavalli

Home

Lamberto Maggiorani - unlikely movie star

Factory worker who shot to fame in Bicycle Thieves

Maggiorani with Enzo Staiola, who played his son, Bruno,
in Vittorio de Sica's Bicycle Thieves

Lamberto Maggiorani, who found overnight fame after starring in the neorealist classic Bicycle Thieves (1948), was born on this day in 1909 in Rome.

Maggiorani was cast in the role of Antonio Ricci, a father desperate for work to support his family in post-War Rome, who is offered a job pasting posters to advertising hoardings but can take it only on condition that he has a bicycle – essential for moving around the city carrying his ladder and bucket.

He has one, but it has been pawned.  To retrieve it, his wife, Marie, strips the bed of her dowry sheets, which the pawn shop takes in exchange for the bicycle. They are happy, because Antonio has a job which will support her, their son Bruno and their new baby.

However, on his first day in the job the bicycle is stolen, snatched by a thief who waits for Antonio to climb to the top of his ladder before seizing his moment.  The remainder of the film follows Antonio and Bruno as they try to find the bicycle.

As a portrait of life among the disadvantaged working class in Rome in the late 1940s, the film is hailed as a masterpiece, director Vittorio de Sica and his screenwriter Cesare Zavattini fêted by the critics for turning a little-known novel by Luigi Bartolini into a piece of cinema genius.

For Maggiorani, however, his participation was something of a bitter-sweet experience.

An original poster from the 1948 movie

De Sica, who had won an Academy Award two years earlier with Shoeshine, attracted plenty of interest when news spread of his new project, with one American producer willing to offer a lucrative deal to cast Cary Grant in the lead role.

It did not interest De Sica, who was determined to be faithful to the principles of the burgeoning neorealist genre be picking actors who would infuse his characters with realism, regardless of whether they had any experience.

Maggiorani was not an actor at all, but a worker in a steel factory. He had himself experienced unemployment as Rome and De Sica saw him as perfect for the role of Antonio.

Delighted, Maggiorani accepted De Sica’s offer, taking time off work for the filming. He was paid $1,000 dollars, the equivalent of about $10,500 dollars (€8,800) today, with which he was able to give his family their first real holiday and buy new furniture for their home.

His performance was magnificent.  Sometimes, De Sica had to use another actor to dub Maggiorani’s dialogue because his strong Roman accent was occasionally hard to follow, but otherwise he was delighted with how his unlikely protégé understood the way he wanted his character to be portrayed. The critics hailed the arrival of a new star.

Yet once the fuss died down and his pay cheque was spent, Maggiorani found his life had changed. One thousand dollars might have been a large sum but it did not set him up for life.

The director Vittorio de Sica

He went back to the factory, but when orders fell away he was told he was no longer required, the perception being that he must be worth millions of lire after his movie success and that there were others whose need for work was greater.

Shunned by many of his friends, too, after failing to share his perceived wealth, he went back to the movie industry, assuming he would be offered more parts.

He was given some, but usually they were minor roles. Pier Paolo Pasolini gave him a bit part in Mamma Roma, a film about a prostitute trying to start a new life and starring Anna Magnani, but only because he thought his name in the credits would raise the movie’s profile.

De Sica was reluctant to use him at all as anything but an extra. Zavattini recognised and sympathised with his predicament and wrote a screenplay entitled ‘Tu, Maggiorani’ about how non-professional actors such as Maggiorani were sometimes used to execute one particular role and then cast aside.

Maggiorani made 16 movies, the last one a comedy entitled Ostia, directed by Sergio Citti and produced by Pier Paolo Pasolini, but none was particularly successful nor earned him much money.

He died at the San Giovanni Hospital in Rome in 1983 at the age of 73, having never regained the standing he enjoyed with Bicycle Thieves.  It is ironic that the film has recently been recognised as one of the greatest of all time.

The Basilica of San Lorenzo Fuori le Mura adjoins
the Campo Verano cemetery

Travel tip:

Lamberto Maggiorani is buried at the Cimitero Comunale Monumentale Campo Verano, situated beside the Basilica of San Lorenzo Fuori le Mura, in the Tiburtino area of Rome. It is the city's largest cemetery, with some five million internments. The name 'Verano' is thought to date back to the Roman era, when the area was known as Campo dei Verani.

The San Giovanni Addolorata Hospital is built on top of
Roman Ruins on Celio hill, south-east of the city centre

Travel tip:

The hospital complex San Giovanni Addolorata, where Maggiorani died, is on the Celio hill, an area of ancient Roman urban settlements. Under the existing buildings are archaeological remains, including the Villa of Domitian Lucilla, mother of Emperor Marcus Aurelius.  Renovation work has also uncovered a villa belonging to the powerful Valerii family, great landowners, which contained historic mosaics preserved in perfect condition.

Home