Sex: Infrequent and not graphic.
Nudity: Some, but no explicit.
Nudity: A drawing hung on the wall shows female breasts and nipples.


Film review:Translated by www.rabudo-ru.com


In the second half of the 1960s, the name “political film” appeared in Western newspapers and periodicals. There have been different views on the name of “political film” from the beginning. As a branch of ideology, film is difficult to leave politics. In the film history of more than a century, there are countless films directly or indirectly related to politics. The first step in the film’s political expression was that the French film pioneer meriai brought the drevos case that shocked France to the screen. From the October Revolution in Russia to the disintegration of the Soviet Union, from the left-wing film movement in the 1930s to today, films in all historical stages have an indissoluble bond with politics.

The “political film” of western countries, which appeared in the second half of the 1960s and reached its climax in the mid-1970s, can be regarded as the product of a new social and political situation. For example, the continuous failure of the American War of aggression against Vietnam, the wave of youth rebellion and the intensification of social contradictions caused by black liberation struggle; France began with the “may storm” in 1968. The scale of student rebellion and workers’ strike became larger and larger, which finally led to Charles de Gaulle’s resignation; In the capitalist world, the left force in Italy has always been the most powerful. At that time, the Italian Communist Party had about 1.8 million members. In 1968, the workers’ general strike reached 11 million, accounting for 1 / 5 of Italy’s total population. The superficial trend of the general crisis of capitalism, large-scale social unrest and the wide awakening of people’s social consciousness provided fertile soil for the emergence of a large number of “political films” in western society in this period.

However, the political views and ideas reflected in “political films” are diverse. Some political films reflect the serious ideological content of real progress, while some political films hold extremely “left”, extremely “right”, pacifist, militarist or utopian views. In Italy, some films advocate fundamentalism, Some are even porn and politics. It can be said that “political film” provides an opportunity for creators with different political and ideological views.

Generally speaking, what we call “political films” are mainly these two kinds of films: one is that the basic content of the film reflects the political facts and some events of the country, mainly western countries, and the stories can take place in the present, the past or the future; The other is that the film author expounds some events, actions, phenomena and facts from an open political point of view, and does not hide his support for a political program. From the perspective of aesthetics, “political film” reflects the style characteristics of modern film art. Today’s film style is not clear, so it is difficult to define it with the symbol of pure style. The basic tendency is the mutual penetration of different types.

Among the “political films” of western countries, Italian “political films” occupy the most important position. French film critic Michel kadenak said at that time: “it is more and more difficult to talk about films instead of Italy”, “the level of Italian films is very high today”, and its main symbol is “its richness, maturity and diversity”. The boiling political situation in Italy provides such soil. Italian artists are very concerned about their country’s politics, which is the basic condition for the emergence of Italian “political film”. During this period, Italy’s “political films” received great attention at major European film festivals, and Italy almost took all the awards of Cannes and Venice film festivals. At the biennial Moscow International Film Festival, Italian films won three awards, and the winning works are mainly “political films”. Although the award-winning situation can not be used as the only standard to evaluate the film quality, the judges of these film festivals mainly consider the selection criteria from the artistic point of view, which can be unanimously praised by the judges from different political positions of eastern and Western countries, indicating that the artistic quality of the film has reached a considerable height.

The film “investigation of an unsuspecting citizen” is quite ironic from the title alone. All citizens have the dual identity of supervision and being supervised. What kind of citizens can enjoy the privilege of not being suspected? Through the vivid, exaggerated but credible description of the killing process, criminal motivation, subjective intention, criminal psychology and a series of subsequent actions of a senior police officer in Rome, as well as the corresponding attitude of the judicial department towards his criminal facts, the film deeply exposes and sharply satirizes Italy’s judicial and political corruption. With the style of crime and detection and smooth and ingenious narrative strategy, the editor and director deduces such a serious and sensitive political theme of Italian society with great appreciation effect.

Elio Petrie (1929 ~ 1982), the director of this film, is a member of the Italian Communist Party. In the 1950s, he wrote scripts for many directors. The famous new realism film “Rome 11:00” was written and filmed on the basis of his investigation report based on real events. Most of Petrie’s films have a strong sense of social criticism, such as the murderer (1961), which analyzes the criminal psychology, the teacher from vigivano (1963), which mocks the illusion of Italy’s “economic miracle”, and take what you deserve (1967), which exposes the collusion between politics and the Church in a small Sicilian City suspected of Mafia criminal activities. Petrie’s most famous films are the trilogy reflecting social ills: the investigation of an unsuspecting citizen (1970), the working class to heaven (won the Golden Palm Award at Cannes International Film Festival in 1971) and property is not stolen goods (1973). “The working class goes to heaven” also uses a title that arouses the curiosity of the audience. The protagonist of the film is a “model worker” named Lulu Massa. He works hard and doesn’t make mischief. Because he works too much overtime, he has no time to take care of his family. He likes women, but he doesn’t have the strength to have sex with his girlfriend. He got involved with a group of college students who came to the factory to promote propaganda. His wife was annoyed and left him with his children. The police wanted to arrest the college students for inciting the strike, and they ran away. Massa was fired for ignoring factory rules. He looked at the house full of things bought on credit and asked himself, “why do I work so hard that my life is not as good as those who do nothing all day?” The film suggests that the problem of workers’ life is far from being solved, and there is still a great distance between reality and his dream paradise. In “property is not stolen goods”, he discusses with the audience the role of money and property in capitalist society. After the film was released, it has aroused extensive discussion in China.

Two other important figures contributed to the Italian “political film”, one is Francesco Rossi. His famous films include the hand in control of the city (1963), the case of Matai (1972) and the wonderful body (1975). The other is Damiano Damiani. His representative works “confession of a police chief” (1970) and “the trial is over, forget it” have aroused widespread influence.

When we understand Italian “political film”, we should not ignore its connection with new realism. The core forces of Italian “political films”, such as Petri, Rossi and Damiani, all claim to be “descendants of new realism”. Critics are also used to calling Italy’s “political film” a “continuation and development of new realism”. These representatives have been assistants or collaborators of Neo realist film masters, and their film creation activities are related to Neo realism. All the excellent works in the “political film” have whipped the capitalist society, its political system and even the insurmountable crisis within the system. In terms of the depth of its social disclosure and social criticism, it is obviously a step forward than the new realism. These films not only dare to contact sharp and complex social and political problems, but also are good at expressing the creator’s original intention through unique structural forms and novel modeling processing adapted to the content while maintaining the credibility and documentary nature of life, so as to make the works reach a new artistic height.

Another highlight of the investigation of an unsuspecting citizen is the wonderful interpretation of the character of the police officer by the actor Jiang Maria vorontai. With the emergence of Italian “political films”, he starred in many such films and created a series of vivid and ironic figures. His vivid performance added a lot to the “political films”.

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