Ida Bracci Dorati plays a minor role as “The Seer” in “Bicycle Thieves,” the 1947 Italian film that follows the life of character Antonio Ricci whose new job placing posters throughout war torn Rome is jeopardized when his bicycle is stolen. Will Straw in the Introduction to “Small Parts, Small Players” dossier of screen describes that many western films from the 1960s often have “the relative absence of extras is also the absence of a social everydayness that might significantly challenge the gendered character of these narratives and the worlds in which they unfold.” (80) Contrary to Straw’s observation of 1960’s American Westerns; The “Seer’s” function in “Bicycle Thieves” creates a realistic environment for other characters both minor and major. Antonio Ricci’s wife re visits with such seer to thank her for her insight she gave her on the job searching of her husband which has now come to fruition. In this scene situated in the house of the “seer” many women are seen lined up to speak with her as well. Assuming that many other wives are in the same struggling situation as their own. It creates a validity to the ”seer’s” work as well as an insightful introduction to true the social everydayness in post-war Italy. There is one more visit with the “seer” that encapsules the same social everydayness as the first scene. Except this time people from all levels of society are seen visiting her. Men, children, and women of all ages are there to seek the future from the powers the “seer” has. The use of these two scenes both assist the storyline towards the job security of Anthony. As well as the assumed job security of many others. In a time where everyone is searching for means of income the “seer” is a minor character that has more information than any other characters. Someone with so much power is diminished to such a small role to create the social attraction from other minor characters in the film.
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