Many of us look back on our childhood with joy and nostalgia, often because of the carefree attitude with which we saw the world.
One of the most eventful moments in childhood is learning to ride a bicycle, and the pride that derives from it. Although it is a rite of passage, the ability to master a bike does not give people the ability to master life’s most complicated problems.
In the French film “The Kid with a Bike,” or “Le Gamin au Velo,” the acclaimed and award-winning Dardennes brothers (Jean-Pierre and Luc) tell the story of a boy experiencing a sense of abandonment at such a young age in his life.
The opening of the film sets the mood for the movie, which follows main character Cyril Catoul (Thomas Doret) as he tries to escape a foster care center to find his father and lost bike. As a young boy, Cyril longs to be reunited with his father more than anything, including escape from his current home. In his initial escape attempt, Cyril ventures into a medical center where he encounters Samantha (Cecile De France), a hairdresser who lives near the center of town. Over the course of the film, Cyril and Samantha form a bond which strengthens after Cyril’s father abandons because he cannot provide a stable home for his son. The duo’s friendship becomes clear when, in a heart-wrenching scene, Cyril breaks down after his father tells him never to come near him again.
Despite his age, Doret masterfully portrays a boy who has to come to grips with the reality that he does not have a stable parental figure. Cyril reminds the audience of the type of kid they once were: active, hyper and restless. Cyril’s innocence is severely damaged once his father banishes him, a feeling that allows audience members foreign to it to experience its degree of impact.
France, known for her roles in a number of French films, fantastically portrays a woman who is exacerbated by trying to balance her own personal life while accommodating a preteen boy. Initially hesitant about looking after an agitated Cyril, Samantha soon finds herself dedicating her life to his well-being.
Cyril’s bicycle serves as a plot device that perpetuates the events in his life; it often leads him into interesting situations he would not have otherwise encountered, both good and bad. Cyril’s bike causes him run-ins with the police and local street gangs and expedites his friendships. For Cyril, his bike was the last connection that he had with his father, which is why he so desperately did everything he could to retrieve it.
While Doret and France give great performances, the lack of depth and overflow of emotion – which is expected in this type of film plot – is only minor drawback. The Dardenne brothers successfully wrote and directed a movie that tried to portray a realistic situation. “The Kid with the Bike” is not dark or gloomy, but at the same time it is not overly optimistic. And other than his situation in the foster home, little is known about Cyril’s or Samantha’s past. This put the focus on how Cyril would respond to his new situation, now that his past was behind him.
To give the film a natural and more realistic feel, the production crew used the single-shot filming technique, or long takes, in a number of scenes. The camera follows Cyril through his interactions with other characters and while on his bicycle, giving the audience an unusual perspective. There are no wild sound effects, no complicated computer generated imagery (CGI) shots, no triumphant score – just a movie designed to show what life can be like in a tough situation.
To those who are looking for a movie gleaming with optimism and joy, they have come across the wrong film with “The Kid With a Bike.” But for those who are interested in a film that displays one of the sadder moments that hit people’s lives, this is a must-see. “The Boy With a Bike” accurately tells the simple tale of a boy who has only the slightest glimmer of hope in his caretaker in an otherwise hopeless situation.
Adam Colorado can be reached at [email protected].
