La classe operaia va in paradiso (1971)

Calificación de los usuarios:

8.0/10   

Director:

Elio Petri

Escritores:

Elio Petri (writer)
Ugo Pirro (writer)

Fecha de Lanzamiento:

17 septiembre 1971 (Italy)

Género:

Drama

Plot:

Lulù is a real hard worker. For this reason he is loved by the masters and hated by his own colleagues...

Plot Keywords:

Worker | 1970s | Italy | Factory | Finger Cut Off

Premios:

5 wins

Comentarios de los usuarios:

Sane world, insane world.

Reparto

Gian Maria Volontè	...	Lulù Massa
Mariangela Melato	...	Lidia
Gino Pernice	...	The syndicalist
Luigi Diberti	...	Bassi
Donato Castellaneta	...	Marx
Giuseppe Fortis	...	Valli
Corrado Solari
Flavio Bucci	...	Operaio
Luigi Uzzo
Giovanni Bignamini
Ezio Marano	...	The timekeeper
Adriano Amidei Migliano	...	The technician
Antonio Mangano
Lorenzo Magnolia
Federico Scrobogna	...	Pinuccio

También conocida como:

Lulu the Tool
The Working Class Goes to Heaven
La clase obrera va al paraíso (Argentina) (Spain) [es]

Duración:

125 min

País:

Italy

Idioma:

Italiano

Color:

Color (Eastmancolor)

Relación de Aspecto:

1.85 : 1

Sonido:

Mono

Clasificación:

Argentina:16

Locaciones de Filmación:

Novara, Piedmont, Italy

Compañía:

Euro International Film (EIA)

Conexiones de Película:

Referenced in La maman et la putain (1973)

Sane world, insane world.

"The Working Class Goes to Heaven" stars Gian Maria Volonté, who appeared in earlier Elio Petri films like "We Still Kill the Old Way" and "Investigation of a Citizen Above Suspicion." The Marxist director's critique of capitalist society is at play in this movie as in so many of his others. Volonté plays Lulù Massa, a lathe-operator in a Milan factory which pays by piece work. Lulù is a fast worker, the pride of the management and the bane of the workers who consider him a threat. The work is a nightmare of monotony, and the workers are continually timed and fined for underproduction. "Even a monkey could do this work," Lulù says.

Like the comic tramp in Charlie Chaplin's 1935 "Modern Times," he feels dehumanized, exploited, empty. His relationship with his mistress and her TV-mesmerized son is strained. He asks an older friend in an insane asylum, "How did you know you were going mad? A man has a right to know what he is doing, what he's useful for."

At the end of the conversation with his mad friend (Salvo Randone) at the asylum, the man begins to leave and Lulù inadvertently remains. The insane asylum seems normal, while the factory, the "real" world, appears insane.

Lulù ignores the worker movement and strikers until he loses a finger in an accident while carelessly overworking. He becomes a symbol for the ills of the factory, and a radicalization process ensues until he is fired for taking a stand against the managers.

Eventually re-hired and given a demeaning assembly-line job, he daydreams enviously of his friend in the madhouse.

Gian Maria Volonté gives the beleaguered hero a pathetic and comic dimension which is always convincing, performing with bold strokes rather than by subtle illumination. Petri's directorial technique uses a similar approach. A highlight is an uproarious scene of lovemaking in a Fiat with co-worker Mieta Albertini.

The film won the grand prize at Cannes in 1972. It runs two hours in its full version and 1½ hours in a truncated version peculiarly called "Lulu the Tool." It is a major Italian film from the 1970s.