Symbolism in The Dardenne Brothers' "Kid With A Bike"

The Dardenne Brothers’ Kid with a Bike displays a vibrant cinematic history, that incorporates many diverse stylistic movements. 

A coherent study of the film reveals the movie’s power comes from it’s universal story structure represented by the deliberately planned mise-en-scène. Specifically, the movie draws upon established fairy tales, biblical references, and cinematic history to visually present it’s powerful and touching premise.

The movie feels akin to a modern fairy tale. The main character, Cyril, dressed in red and on his own, encounters threats and villains while in the woods. This simple idea recalls such legends as “Little Red Riding Hood” and “Hansel and Gretel.” Furthermore, the idea of a boy seeking a family, and taking solace from a fairy godmother figure evokes the familiar tale of “Pinocchio.” These references comprise the mise-en-scène in the scene where Cyril first enters the woods at the movie’s 0:41:40 mark.

“The Kid with a Bike” abounds with Biblical allusions. The lessons of the film’s plot are very primal, dealing with moral issues of right and wrong, visually depicted in the mise-en-scène. Several of the Ten Commandments come to mind such as “Thou Shalt Not Steal,” and “Honor thy mother and father.” An additional reference comes from Adam and Eve’s temptation of evil at the base of the tree, which is recreated in the movie as Cyril encounters Wes. Furthermore, Cyril (a small boy) is constantly battling bigger kids. This recalls the David and Goliath story. Even the Walls of Jericho are referenced each time Cyril visits his father. Cyril must climb over a fortress-like wall just to see him – a test of strength and courage. 

Many New Testament references occur throughout with suggestions to the life and teachings of Jesus. The most significant is the overall relationship with Samantha. As a single woman with no given history, she becomes a Virgin Mary figure as the loving parent to Cyril. One key example is the recreation of the Pieta imagery of Madonna and Christ when Cyril first meets Samantha at the 0:08:25 point in the film. 

Several other images recall New Testament stories, such as Jesus’s pierced side when Cyril stabs Samantha, and the parable of the Good Samaritan when Cyril waits on the side of the road to attack the newspaper salesman (and also as Samantha acts toward Cyril to care for him). A final example is when Cyril returns to the woods to escape his attacker. Cyril climbs a tree and has stones thrown at him, recalling the frequently quoted line where Jesus says “Let him who is without sin cast the first stone.”

The movie draws upon many cinematic references. First is the Italian Neorealist film “Bicycle Thieves.” Yet the film’s style recalls the entire Neorealist movement as it is shot with a loose, documentary technique, focuses on the lives of the poor working class, and is also filmed on location with non-famous actors. The next style synthesis is from the French New Wave, as it incorporates more impressionistic editing. 
The film also abounds with the foundations of Hollywood films. 

This includes the wardrobe influence of James Dean’s red jacket-wearing troubled kid in “Rebel without a Cause,” and the lifelong obsession of the sled Rosebud in “Citizen Kane.” The overall emphasis of the bicycle is a reference to many films such as “E.T.” and “Butch Cassidy,” especially in relation to youth, happy times, and golden memories. Finally, at the 0:58:38 point, Cyril turns down a movie (“in 3D!”) to instead commit the robbery which nearly ruins his life. Like Francois Truffaut, movies could have been his savior. 

Michael Carvaines teaches a Screenwriting class in Southern California