电影欣赏 工人阶级上天堂

角 色：导演,演员,编剧

生于罗马，1982年卒于该城。毕业于罗马大学文学系。他以《团结报》电影评论员的身份而开始电影生涯，并曾与C.柴伐蒂尼、G.德·桑蒂斯合作编写电影剧本。德·桑蒂斯的著名影片《罗马11时》（1952）的剧本就是根据他的调查材料，在他参与下编写而成的。佩特里拍摄的第一部影片《七个农民》(1959)是一部纪录片。接着，他导演了反映道德问题的故事片《罗马的谋杀女人的凶手》(1961)，并把作家L.马斯特洛纳迪的中篇小说改编成影片《II Maestro di Vigevano》,后又导演《The ioth victim》，此为意大利影坛少见的科学幻想片。1967年的《坏家伙的手愈白》（A Quiet Place in the Country ），以黑手党的问题做为题材。他是意大利的社会派作家，对社会一般事物有尖锐的观察，因思想过于偏激，成就有限。(见这里)

作为导演 Elio Petri的电影作品(数量：12)Buone notizie, Le ------- (1979)
Todo modo ------- (1976)
Proprietà non è più un furto, La ------- (1973)
通往天堂的劳动阶级 Classe operaia va in paradiso, La ------- (1971)
对一个不容怀疑的公民的调查 Indagine su un cittadino al di sopra di ogni sospetto ------- (1970)
乡间僻静处 Tranquillo posto di campagna, Un ------- (1969)
各取应得 A ciascuno il suo ------- (1967)
Decima vittima, La ------- (1965)
Alta infedeltà ------- (1964)
Maestro di Vigevano, Il ------- (1963)
Giorni contati, I ------- (1962)
接班人 Assassino, L' ------- (1961)

作为编剧 Elio Petri的电影作品(数量：18) Buone notizie, Le ------- (1979)
Proprietà non è più un furto, La ------- (1973)
通往天堂的劳动阶级 Classe operaia va in paradiso, La ------- (1971)
对一个不容怀疑的公民的调查 Indagine su un cittadino al di sopra di ogni sospetto ------- (1970)
乡间僻静处 Tranquillo posto di campagna, Un ------- (1969)
各取应得 A ciascuno il suo ------- (1967)
Decima vittima, La ------- (1965)
Alta infedeltà ------- (1964)
Mostri, I ------- (1963)
Giorni contati, I ------- (1962)
接班人 Assassino, L' ------- (1961)
Impiegato, L' ------- (1960)
Gobbo, Il ------- (1960)
Vlak bez voznog reda ------- (1959)
Strada lunga un anno, La ------- (1958)
Uomini e lupi ------- (1956)
Giorni d'amore ------- (1954)
Marito per Anna Zaccheo, Un ------- (1953)
作为制片人 Elio Petri的电影作品(数量：1)Buone notizie, Le ------- (1979)
作为助理导演 Elio Petri的电影作品(数量：1)Giorni d'amore ------- (1954)

维基百科的介绍

Elio Petri (January 29, 1929 - November 10, 1982) was a political Italian filmmaker.

Contents [hide]
1 Early Life
2 Early Films
3 Director
4 Final Years
5 External links

Early Life (早年生活)
Elio Petri was born in Rome on January 29, 1923 into a modest family, his father being a coppersmith. As the only son, he grew up in the working-class area of the city before attending school where he was noted for his intelligence.

After being expelled for political reasons from San Giuseppe di Merode, a school run by a priest on the Piazza di Spagna, he embarked on a career combining political militancy, film-journalism and the coordination of cultural activities for the youth organization of the Italian Communist Party. He wrote for L'Unità and for Gioventù nuova as well as for Città aperta. He left the party in 1956 after the Hungarian rising.

A friend of Gianni Puccini, he was introduced through him to Giuseppe De Santis and became Assistant to the director of Bitter Rice. He collaborated, without being credited for it, on Rome 11 O'Clock (1952), one of the least known post-war neo-realist movies, based on an actual tragedy; a staircase collapse with dozens of women job seekers who showed up in response to an advertisement by a doctor seeking a secretary.

Early Films (早期电影)
Mr. Petri carried out the preliminary inquiry among the real-life protagonists of the drama. The inquiry was published in book form in 1956. There followed the collaboration with De Santis, both as script-writer and as director's assistant, on La Fille sans homme (1953), Jour d'amour (1955), Homme et luops (1956), La strada lungo un anno (1958) and La Garconniere (1960). During the period, Petri also wrote scripts for Giuliano Puccini, Aglauco Casadio and Carlo Lizzani. Nevertheless, it was his collaboration with the film-director from Fondi which was decisive when it came to learning the tools of the film-directing trade as well as developing an autonomous cultural and political outlook.

Director (导演)
All his life, Petri remained deeply attached, both politically and personally, to Beppe De Santis. After two shorts, Nasce un campione (1954) and I sette contadini (1959), which gave him the opportunity to broaden his knowledge of film-making 'on the job' as was the usual course in those days, Petri made his debut as a director with L'assassino (The lady killer of Rome) based on a script co-authored with Tonino Guerra in 1961. Already in this film, Petri's gift for portraying alienated characters, for conjuring up a Kafkaesque thriller mood, is evident.

I giorni contati (1962), his second film, again co-authored with Tonino Guerra sets the pattern: Petri's filmic world is political by allusion and dominated by the themes of exclusion and divided lives. After two somewhat lesser films Il maestro di Vigevano, (1963) and the sketch Sin in the afternoon, included in High Infidelity, 1964, Petri directed The 10th Victim (1965), a film with futuristic overtones also co-authored with Tonino Guerra. In 1967, he shot We still Kill the old Way (adapted from the homonymous novel by Leonardo Sciascia), one of the most poignant of his works dealing with the individual's inability to cope with realty. The film also marked Gian Maria Volonte's entry into Petri's expressive world and the beginning of the collaboration with the script-writer Ugo Pirro which was to last until 1973.

With A quiet place in the country, the last of his film to be co-authored with Guerra, he tackles the subject of solitude and the artist's romantic agony. He then directed four films which showed that he was one of the most acute, lucid and despairing analysts of the schizophrenia of our time. These films constitute, as it were, a portrait of all the facets and contradictions of Italian society: Investigation of a Citizen Above Suspicion (1970), the subject of which is the police-force; The Working Class Goes to Heaven (1971), on the worker's condition; Property is no longer a theft (1973), about the role of money in our society and how power destroys the individual: Todo Modo (1976), adapted from the homonymous novel by Leonardo Sciascia is about the warped psychic structure of the power moguls among the Christian Democrats. Pointing out as it does all the danger of conformism in politics, culture and communications technology, Petri's work increasingly came up against production obstacles. The ideological violence of Investigation of a citizen above suspicion almost caused the film to be definitely banned.

In 1978, putting aside those topics that were direct reflections on contemporary Italian society, Petri directed for the television a remarkable version of Sartre's play Dirty Hands, in which, once again, Marcello Mastroianni gave an exceptional performance. For the reason of copyright the film has not been released outside Italy.

With Buone Notizie (1979), which Petri himself produced together with Giancarlo Giannini, the main character in the film, Petri reached an impasse: the joint inability of the artist and his character to convey their suffering and dismay.

At a time when sociopolitical and psycoanalytical methods were converging in an attempt to better define the crisis in western societies, Petri tries to interpret the field of the unconscious. More in the line of Sigmund Freud and Wilhelm Reich than Karl Marx, he is one of the directors who have done most to renew the political approach to man's problems, to his social insertion. Ranging from neuroses to schizophrenia, Petri's world is one of the most coherent and stimulating where a film-director's commitment to his implicit audiences is involved. The work, however, took its toll on Petri.

Final Years (最后的年月)
Like his own characters, he was a constant prey to existential doubts and anguish. The last years of Petri's life were overshadowed by the difficulty he experienced in getting a new film-project under way, and by the onset illness. In 1981, Petri went to Geneva to produce Arthur Miller's new play The American Clock. It was to be his sole incursion into the theatre domain. Work on another film, Chi illumina la grande notte was well advanced: the takes were scheduled for September 1982 and Marcello Mastroianni was to play the leading role. But his illness too was far advanced: Elio Petri died prematurely of cancer on November 10, 1982. He was 53 years old.

External links (外部链接)
Elio Petri web-site
IMDb entry

(See here)

幕后制作：
本片获戛纳影展金棕榈奖。影片包含了许多社会现实元素，是一部有时代特征的政治电影，通过马萨这个“迷惘的工人”，再现了那个时代里人们陷入革命理想与现实困难的两难处境。整部电影延续了导演《查案记》的主题和风格，却将视觉转向了探索工人阶级的心态变化和心理活动。(见这里)

维基百科英文版的简介

The Working Class Goes to Heaven (Italian: La classe operaia va in paradiso) is a 1971 film directed by Elio Petri. It depicts a factory worker's realisation of his own condition as a simple "tool" in the process of production and, implicitly, his struggle with the trade unions. The worker in question, Lulu, is described in the first part of the film as a Stakhanovite.

The film shared the Grand Prix with The Mattei Affair at the Cannes Film Festival in 1972. Italian actor legend Gian Maria Volonté was the leading actor in both films.(见这里)

在国际金融危机的影响不断显现的情况下，保持行业稳健发展、防范化解风险已成为保险业监管重点。保监会要求各公司根据《国有保险公司负责人薪酬管理暂行办法》，将主要负责人薪酬报保监会审核，并对其薪酬设置明细账目、单独核算，主要负责人在其他单位的兼职所得包括各种补贴、股权、红利等应上缴公司，其薪资方案需要在员工大会上进行公布。

保监会同时要求各公司暂停实施股权激励和员工持股计划，在国家相关政策颁布之前各公司不得擅自实施。保监会主席吴定富曾表示，对于改善偿付能力状况不积极、措施不力的公司，将限制高管薪酬，相关负责人及管理人员“下课”。(这里)

　　近年来，紧随股改、上市步伐，紧逼“外脑”的薪酬水准，国内金融从业人员尤其是高管的收入也有了大幅提升。令人咋舌的工资、讳莫如深的年终奖以及公司上市后分得的股权期权，让很多金融白领摇身一变为百万富翁，享受上千万元“天价年薪”者亦不乏其人。

　　企业提高福利待遇，在一定程度上起到了招揽人才、激励业绩的作用。但畸高的“天价年薪”在中国并不适用。

　　其一，它严重脱离中国现实，脱离企业成长实际。中国金融业起步较晚，虽然取得了很大进步，但无论是整体实力还是“单兵较量”，与国际水准仍存差距。近年来的股改上市，让很多金融机构顺利地剥离了不良资产，获得巨额注资后涅槃重生。但仔细考量，这种跳跃式发展离不开国家的扶持与广大纳税人的无私奉献。更何况，一些企业之所以利润丰厚，完全依赖于其行业垄断地位以及保护性政策，比如银行的存贷利差、保险公司的保单利率等。在西方金融体系中，高管拿竞争业绩说话，有增薪也有减薪。而在我国，享受“垄断福利”的金融骄子们，往往缺少感恩与谦让，收入连年攀升。保监会主席吴定富曾怒斥保险业高管“薪酬不能跟业绩和贡献成正比！”

　　其二，它没有兼顾股东、员工利益，影响团队的凝聚力。在国内金融行业、企业内，收入差距最高达数百倍。“天价年薪”、“股权激励”的负面作用往往表现为削减员工的积极性和企业的凝聚力、助长高风险决策行为。专家指出，华尔街金融风暴的主要原因之一就是——离谱的高薪助长了某些高管的贪婪和奢靡，助长他们进行“捞一把再说”的风险决策。我们在反思金融风暴、规避金融风险的同时，应及时遏止这股歪风，未雨绸缪。

　　其三，它加剧了社会贫富差距、伤害了百姓感情。我国仍处于社会主义初级阶段，居民收入整体水平不高且有差距加大之势。国有控股金融企业的高管们给自己开工资时，要虑及社会公平。我们正在全力构建社会主义和谐社会，从整顿畸高年薪入手，是调整收入结构、增进社会公平的现实之举。

　　废止“天价年薪”正逢其时。保监会已率先出台细则，就看金融高管们能不能管得住自己了。(这里)