Elio Petri



Satire... or premonition? Ursula Andress in The Tenth Victim

Elio Petri: The Tenth Victim

Based on a novel by Robert Sheckley, The Tenth Victim represented a marked sea change in Elio Petri’s oeuvre. Gone was the low key, wry approach of his former films: this is a brash, colorful production that exudes extravagance from it’s every pore.


Things are getting odd... in Elio Petri's I maestro di Vigevano

Elio Petri: The Teacher of Vigevano

Petri’s next film was The Teacher of Vigevano (Il maestro di Vigevano,63), another intimate, black and white chamber-piece, which plays rather like a retread – albeit an even more pessimistic retread – of I giorni contato.


Salvo Randone in I giorni contati

Elio Petri: I giorni contati

Petri’s second film was I giorni contati (62), which again featured Salvo Randone. This time he plays Cesare, a plumber and widower who is riding home from work on the bus when it’s discovered that one of the passengers has died.


Marcello Mastroianni in The Assassin

Elio Petri: The Assassin

After making two shorts, Nasce un campione (54) and I sette contadini (59), Petri made his full debut with The Assassin (L’assassino, 61), based on a script co-written with Tonino Guerra (with whom he would later collaborate on several films).