Le tour races through itpworld‘s home town on July 6 so it seems appropriate to celebrate a glimpse of the Yellow Jersey with a favourite collection of images of bikes on film. Pride of place should go in this case to one of my favourite Jean-Luc Godard films, Une femme est une femme (France 1961) in which Anna Karina is the partner of Jean-Claude Brialy who follows sport with a passion, listening to football on the radio and cycling around the tiny apartment as he thinks about cycle races:
I’ve scoured the internet for interesting images and discovered several ‘bikes in the movies’ blogs. I’ve listed some of the best at the end of the post. Apologies to all concerned from whom I’ve borrowed images – I hope you feel that it’s a good cause.
Who could resist the idea of Stan and Ollie running a bike shop?
Five entries for the sexiest cyclist:
Bikes can be sexy I think you’ll agree. Part of the appeal is the sense of freedom, the ‘go anywhere’ possibilities of the bike. But I have to confess those loose dresses and flashes of suntanned legs pumping the pedals are very alluring. As for Paul Newman on a bike, I’m not best equipped to explain why it works but it does. Here’s another trio:
Our local cycling connection from film history is A Boy, A Girl and a Bike (dir. Ralph Smart, UK 1949) filmed in some of the locations visited by the Le tour this weekend. It’s remembered now partly because the British 1950s sex symbol Diana Dors has a minor role, but there is much more to it than that.
Bicycles feature in several well-known British films, here are a few more:
Cycling was once essential for workers and here’s a famous example of riding home from work. It’s appropriate that Saturday Night and Sunday Morning (dir Karel Reisz, UK 1960) was set in Nottingham, home to the UK’s most famous manufacturer of bicycles, Raleigh.
Besides the practicalities of cycling, bicycles are an important part of the neo-realist tradition – an important plot device in those societies where ownership of a bike, or even just the chance to ride one, can change people’s lives. Bicycle Thieves (dir Vittorio De Sica, Italy 1948) is perhaps the most influential film on new filmmakers across the world:
Two images from Beijing Bicycle (dir Wang Xiaoshuai, China 2001):
Bicycles have given women freedom at certain times and here in Late Spring (dir Ozu Yasujiro, Japan 1949) Hara Setsuko is able to go out for a ride inan unusual sequence from an Ozu film:
In some societies, the bicycle is a potent symbol of gender difference and cultural/religious conflict as in Wadjda (dir. Haifaa Al Mansour, Saudi Arabia-Germany 2012):
and in The Day I Became a Woman (dir. Marziyeh Meshkini, Iran 2000)
And to round off our tribute to the peleton, a reminder of one of the most enjoyable bike films, Breaking Away (dir Peter Yates, US 1979)
Here’s that list of useful sites: