| Marcello Mastroianni | ... | Professor Sinigaglia | |
| Renato Salvatori | ... | Raoul | |
| Gabriella Giorgelli | ... | Adele | |
| Folco Lulli | ... | Pautasso | |
| Bernard Blier | ... | Martinetti | |
| Raffaella Carrà | ... | Bianca | |
| François Périer | ... | Maestro Di Meo | |
| Vittorio Sanipoli | ... | Baudet | |
| Mario Pisu | ... | Manager | |
| Kenneth Kove | ... | Luigi | |
| Annie Girardot | ... | Niobe | |
| Edda Ferronao | ... | Maria | |
| Anna Di Silvio | ... | Gesummina | |
| Roberto Diamanti | |||
| Elvira Tonelli | ... | Cesarina | |
| Giampiero Albertini | ... | Porro | |
| Antonio Di Silvio | ... | Pietrino | |
| Franco Ciolli | ... | Omero | |
| Bruno Scipioni | |||
| Silvio Anselmo | (as Anselmo Silvio) | ||
| Pippo Starnazza | ... | Bergamasco | |
| Sara Simoni | ... | Cenerone's Wife | |
| Anna Glori | ... | Signora Cravetto | |
| Enzo Casini | ... | Antonio | |
| Antonio Casamonica | ... | Arro | |
| Gino Manganiello | ... | Uncle Spartaco | |
| Giuseppe Marchetti | |||
| Fred Borgognoni | |||
| Giuseppe Cadeo | ... | Cenerone | |
| Piero Lulli | |||
| Giulio Bosetti | |||
| Pippo Mosca | ... | Omero |
Directed by | |||
| Mario Monicelli | |||
Writing credits | ||
| Agenore Incrocci | (story and screenplay) (as Age) & | |
| Furio Scarpelli | (story and screenplay) (as Scarpelli) and | |
| Mario Monicelli | (story and screenplay) | |
Produced by | |||
| Franco Cristaldi | .... | producer | |
Original Music by | |||
| Carlo Rustichelli | |||
Cinematography by | |||
| Giuseppe Rotunno | |||
Film Editing by | |||
| Ruggero Mastroianni | |||
Production Design by | |||
| Mario Garbuglia | |||
Set Decoration by | |||
| Mario Garbuglia | |||
Costume Design by | |||
| Piero Tosi | |||
Makeup Department | |||
| Giuseppe Banchelli | .... | makeup artist | |
| Iole Cecchini | .... | hair stylist | |
Production Management | |||
| Giorgio Adriani | .... | production manager | |
| Claudio Agostinelli | .... | production supervisor | |
| Fausto Lupi | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Renzo Marignano | .... | first assistant director | |
| Ferdinando Morandi | .... | assistant director | |
| Bata Stojanovic | .... | assistant director (as Bata Stoyanovic) | |
Art Department | |||
| Ferdinando Giovannoni | .... | assistant production designer | |
Sound Department | |||
| Umberto Bonelli | .... | boom operator | |
| Adriano Taloni | .... | sound | |
Camera and Electrical Department | |||
| Giuseppe Di Biase | .... | assistant camera (as Pino Di Biase) | |
| Giuseppe Maccari | .... | camera operator | |
| Piero Servo | .... | assistant camera | |
| Franco Vitale | .... | still photographer | |
Costume and Wardrobe Department | |||
| Vera Marzot | .... | assistant costume designer | |
Editorial Department | |||
| Vanda Olasio | .... | assistant editor | |
Music Department | |||
| Luigi Urbini | .... | musical director (as Pier Luigi Urbini) | |
Other crew | |||
| Graziolina Campori | .... | script supervisor | |
| Ferdinando Giovannoni | .... | assistant architect | |
| Sandro Rocco | .... | script supervisor | |
| Umberto Sambuco | .... | production secretary | |
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| The Best of Youth | Daens | My Brother Is an Only Child | The Garden of the Finzi-Continis | 1900 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb Italy section |
Titled "I Compagni" (The Comrades), 1964 American release of this controversial Italian film was as The Organizer, no doubt to avoid an anti-Communist reviewer backlash. While Marcello Mastroianni's Professor Sinigaglia endures some embarrassing indignities, he overcomes them. Working-girl refugee Niobe (wonderfully portrayed by Annie Girardot) helps him both emotionally and nutritionally. This is a wonderful film about not giving up on solidarity. I hold it in higher esteem than Norma Rae, one of the very few other films about working people organizing. The film suffers from being viewed as a not-so-funny comedy because of its over-individualized title. For many years, it was difficult to get a print for showing. Bosley Crowther favorably reviewed it for New York Times 7 May 1964. There is a review in Film Quarterly, Autumn 1964, which I have not seen.