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Death of a Cyclist (1955)
"Muerte de un ciclista" (original title)

 -  Drama  -  27 August 1955 (Italy)
7.8
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Ratings: 7.8/10 from 1,639 users  
Reviews: 16 user | 25 critic

A couple having an affair strike a bicyclist with their car and do not offer aid out of fear of their relationship being exposed.

Director:

(as J.A. Bardem)
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Title: Death of a Cyclist (1955)

Death of a Cyclist (1955) on IMDb 7.8/10

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Cast

Cast overview, first billed only:
Lucia Bosé ...
María José de Castro (as Lucia Bose)
Alberto Closas ...
Juan Fernández Soler
Bruna Corrà ...
Matilde Luque Carvajal (as Bruna Corra)
Carlos Casaravilla ...
Rafael Sandoval dicho Rafa
Otello Toso ...
Miguel Castro
Alicia Romay ...
Carmina
Julia Delgado Caro ...
Doña Maria
Matilde Muñoz Sampedro ...
Vecina del ciclista muerto
Mercedes Albert ...
Cristina
José Sepúlveda ...
Comisario (as Jose Sepulveda)
José Prada ...
Decano (as Jose Prada)
Fernando Sancho ...
Sargento policía tráfico
Manuel Alexandre ...
Ciclista
Jacinto San Emeterio ...
Joaquín
Manuel Arbó ...
Padre Iturrioz (as Manuel Arbo)
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Storyline

Juan is an academic, his career stalled, teaching at the university because of his brother-in-law's prestige. María José is a socialite, married to wealth, bored but attached to her comforts. The two are lovers. On an isolated country road, their car strikes a cyclist; fearing exposure, they leave him to die. Distracted, Juan unjustly fails a student. Rafa, a bitter savant in their social circle, hints that he knows something, and he threatens to expose them to María José's husband, Miguel. Miguel's pride may be the lovers' best hope. Then Juan proposes a solution. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

Language:

Release Date:

27 August 1955 (Italy)  »

Also Known As:

Age of Infidelity  »

Box Office

Gross:

ESP 472,773 (Spain)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Finnish censorship certificate register # 045590. See more »

Goofs

A cameraman's hand is visible in the back seat when Maria Jose is alone in the car towards the end. See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
When there's no escaping karma...
26 February 2011 | by (United States) – See all my reviews

I found this movie to be almost perfect in its blend of psychological horror, noir depiction of locale, and suspense.

From the moment this beautiful-to-the-eye couple hits the cyclist, you see their lives start to come undone (a time-honored theme exemplified by Zola's "Therese Raquin"). You begin to see what each of them is made of and will become.

The sense of existentialism is intense as we witness how life can begin going south in an instant.

Though the gentleman in this drama is involved with a married woman, he does have a conscience. His paramour is the archetypal ice queen to whom nothing and no one matters but herself. (We wonder what he saw in her anyway, other than a pretty face in a mink and pearls.)

I don't speak Spanish but my sister is a translator of the language and I could tell that the absolute, purest articulation of the language was employed in this film. What an aesthetic pleasure to hear these actors enunciate!

I wasn't familiar with any of the actors here. Indeed, not being an Almodovar fan, I can count the number of Spanish films I've seen on one hand. Yet I found the casting in "Death" to be brilliant. Who was that self-hating art critic, anyway? What an unforgettable face and slimy demeanor! (As fascinating and creepy as it was to observe this character, his hazy knowledge never made much sense...where the heck did he get his information?)

Despite these quibbles, I loved the way this movie made paranoia and obsession virtual characters in the plot. And I savored the brilliant flamenco interlude.

I'm not ashamed to admit the penultimate scene, when Senora Icy takes the wheel, took me by surprise. The very last scene was the only one in the film that felt cliché-ish and not worthy of what had preceded it.

Still, this is one masterful work.


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