Elio Petri

Gian Maria Volonte in his normal restrained mode in The Working Class Goes to Heaven

Elio Petri: The Working Class Go To Heaven

Volonté and Petri joined forces again for 1971’s The Working Class Goes to Heaven and, impressively, they managed to concoct something that was even more hysterical than Investigation of a Citizen above Suspicion.

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.