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La classe operaia va in paradiso (1971)
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Overview
User Rating:
Release Date:
17 September 1971 (Italy) morePlot:
Lulù is a real hard worker. For this reason he is loved by the masters and hated by his own colleagues... more | add synopsisAwards:
5 wins moreUser Comments:
Should be screened more often moreCast
(Cast overview, first billed only)| 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 |
Additional Details
Parents Guide:
Add content advisory for parentsRuntime:
125 minCountry:
ItalyLanguage:
ItalianColor:
Color (Eastmancolor)Aspect Ratio:
1.85 : 1 moreSound Mix:
MonoCertification:
Argentina:16Fun Stuff
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Elio Petri is one of the most important Italian directors: he made some wonderful films about mafia, politics, justice and social equality. Gian Maria Volontè is, in my opinion, the best actor of the last decades of Twentieth Century in Italy: hot-tempered, brutal, passionate, he infuses these traits to his characters. Together, they are an explosive duet. LA CLASSE OPERAIA VA IN PARADISO tells the story of Ludovico "Lulù" Massa, a workaholic machinist who loses his finger in a machine: with his finger, he loses himself, he suffers from alienation and tiredness. But I don't want to spoil anything. The actors are wonderful: Gian Maria Volontè and Mariangela Melato as Lulu's mistress, Lidia, are like a time-bomb, absolutely perfect, both forceful characters. The dirty and denatured cinematography by Luigi Kuvellier, the monotonous and dreary production design by the future Academy Awards winner Dante Ferretti and the repetitive and disturbing score by Ennio Morricone help to build the alienating life of a worker in a big, inhuman factory. And then there's the nervous and indignant direction by Petri that blends everything. It should be screened more often, especially in the schools, but I'm pretty sure that modern Italian boys and girls won't understand this film and, as a result, won't appreciate it.