The Working Class Goes to Heaven | Chicago Reader

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Also known as Lulu the Tool, this film by Elio Petri tries to rework the predicament of Modern Times but falls on its Italian backside between the stools of radicalism and total cynicism. Petri obviously doesn't take his ideological conflicts very seriously—which is a major mistake, because our reading of the film depends primarily upon our apprehension of the genuineness of Lulu's dilemma: mind-numbing subservience to the machine versus radical consciousness. Gian-Maria Volonte gives a superb performance as Lulu; but the aura of parody torpedoes whatever intentions Petri might have been trying to fulfill (1972).

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