User reviews

Mario Monicelli's wonderfully full portrait of an early workers' strike at a Turino textile factory (circa 1890) is not only a great period drama, but a warm, if ultimately tragic human comedy in the great Italian tradition. Great performances all around (Mastroianni, Giradot, and a young River Phoenix look-a-like named Franco Ciolli, whatever became of him?) help make this labor drama the movie MATEWAN, MOLLY MAGUIRES and GERMINAL all tried to be.

Mario Monicelli was one of the successors to the neorealist movement in Italian cinema, which began in the mid-'40s and catapulted Italy to the forefront of international cinema. Following it came a generation of Italian filmmakers — including Fellini and Antonioni — who had apprenticed under the neorealist directors, and who kept Italian cinema alive for one more generation while the "big three" neorealists (Rossellini, De Sica, and Visconti) moved in increasingly disparate directions.

Monicelli was one such filmmaker to emerge from the waning neorealist movement. His first big success, I believe, was the 1958 film, "Big Deal on Madonna Street", which is the first major film I know of from the commedia all'italiana genre ("comedy Italian style", taking its name from Pietro Germi's 1961 film, "Divorce Italian Style"). It's a wonderful comedy, and I'd recommend seeing it, if possible, before "The Organizer".

Commedia all'italiana is generally characterized by a mixture of mildly over-the-top humor and a gentle poignancy that anchors what could otherwise be absurdist farce. There tend to be light political undertones which unobtrusively satirize contemporary life in Italy, and an emotional undercurrent that stems from a sympathy with likable characters who simply can't get a foothold in modern society.

This all fits "Big Deal on Madonna Street" to a tee, but what about "The Organizer"? The film, released in 1963 and starring Marcello Mastroianni, has all the aforementioned qualities, but in smaller doses. It goes heavier on the drama, and lighter on the comedy, which is nearly always saturated with a pathos that exceeds what is typical of the commedia all'italiana genre. The resulting blend is sometimes uneven. There were times when I wasn't sure if something was supposed to be sad or funny. But I suppose there's no need for the two to be mutually exclusive, and there were other times where the humor and drama came together wonderfully.

"The Organizer" is halfway between a standard commedia all'italiana film and a more traditional neorealist exercise like "Bicycle Thieves" or "Umberto D.". We can certainly see the neorealist influence all over the film, but we can also see Monicelli's own unique brand of comedic farce in this entertaining blend of cinematic styles.

Monicelli was a lifelong Marxist and communist. Other than the apolitical Fellini, and perhaps Rossellini, whose politics are still a bit of an enigma to me, Italian cinema was filled with Marxist thinkers and self-proclaimed communists: Visconti, Pasolini, De Sica, Antonioni, Rosi, Bertolucci, Pontecorvo, and Monicelli. In fact, cinema in general has been filled with them: Godard, Gorin, Marker, Varda, Fassbinder, Ôshima, Eisenstein, Kalatozov, et cetera. More narrow-minded American viewers will need to be reminded that communism did not have the terrible connotation in Europe in the '60s that it has in America today. McCarthy did his job well in demonizing communism for Americans, but being a communist in Europe in those days was simply about politically engaged individuals seeking to rectify the social injustice they saw all around them. Today we associate it with tyranny and Stalinism, but that is very far from the reality of communism for Europeans who embraced it during the era in which "The Organizer" was made. Communism was simply a natural and inevitable response for countries like France and Italy, who had recently seen the other end of the political spectrum up close and personal. Americans have always been the quickest to scoff at communism, partly because we live in the capitalist center of the world, but also because, here on the other side of the Atlantic, we've been largely spared the ugliness of fascism (although McCarthy certainly gave us a glimpse).

The reason I delve into such contentious territory — something I would normally prefer to avoid — is because "The Organizer" is a plainly Marxist film, brazen in its declaration of political rights and wrongs, as those who discuss politics will almost invariably be. If your political compass is locked in a fixed anti-communist position, you will likely be unable to enjoy this film, which would be a shame, because there's a lot to enjoy here if you can set politics aside. I'm not political by nature, so I've never had any issue doing that. I respect the prerogative of filmmakers to express their ideas, even ones I don't agree with (in fact, those are often the perspectives I find I learn the most from), and so political cinema — of any variety — is always welcome on my television.

Overall, however, "The Organizer" is actually relatively unbiased, compared to many other exercises in left-wing cinema. Monicelli calls it a Marxist film, and it most certainly is, but it's Marxist in the humanist sense as much as it is in the communist sense. There is, of course, a deep sympathy with the working class, and that, on the whole, is the dominant tone of the film: sympathy. It's not so much the angry revolutionary mode of filmmaking that we see from, say, Godard in the early '70s. It's based much more in an empathy for human suffering, and a desire to see despairing individuals liberated from the prison walls created by their social class. This desire, after all, was the core of communism, before it was bastardized by Stalin.

"The Organizer" is an insightful film about the complexities and moral dilemmas surrounding revolution, and while I prefer less biased reflections on the subject, such as Fellini's "Orchestra Rehearsal", Herzog's "Even Dwarfs Started Small", or Tarr's "Werckmeister Harmonies", Monicelli does a respectable job of observing the obstacles that stand in the way of the revolutionary process. He is committed to a specific ideology, without question, but this is not by any means mindless propaganda. This is a high quality film that works both as a dramatic contemplation on the nature of revolution, and as a comedy based in lighthearted entertainment. Enjoy it on whichever level you prefer.

RATING: 8.00 out of 10 stars

There have been many movies about union organization over the years, and "The Organizer" is one of the best I've seen.

Marcello Mastroianni plays a teacher with a mysterious past who shows up in an Italian village and encourages the working folk to organize. As always in stories like this, there are those who are suspicious and those who are on his side. The film is spare and naturalistic in setting and tone, and it packs one gut punch of an ending.

"The Organizer" brought writers Age, Scarpelli, and Mario Monicelli (who also directed) an Oscar nomination for Best Original Story and Screenplay at the 1964 Academy Awards.

Grade: A

This is one of those great foreign films from the 60's. The plot synopsis may make it sound dismal, but on the contrary it is full of heart and humor. These are real people, with all their quirks and stupidities and rich relationships with one another. There is an accurate, full portrayal of the human condition, and an acceptance of what that means, that is rare to non-existent in movies today.

If you like films that put you into another world for a couple of hours, you've got to see this. The late 19th century Northern Italy textile factory is amazingly realized. The black & white cinematography is gorgeous, and the acting is convincing all around.

Mastroianni is a personal favorite, and this is a terrific role for him: very unlike his usual suave, modern, urban characters.

This film is a masterpiece. It's a shame it is not out on DVD.

The difference between this film and a lot of other strike/union related films, is that it has a sense of humor and is not taken with its own self importance. As a matter a fact, the film is quite measured and cautious in its outlook. There are no heroics here, everybody is a full fledged human being with his/her weaknesses and strengths. Mastroianni is particularly wonderful here in a very nuanced performance, where he goes from nebbish professor to inspirational and powerful leader in matters of seconds. The script is very strong and Rotunno's cinematography is excellent. Monicelli injects the film with so many details that hit their mark, that he has gone from a very good director to a great one in my estimation. The early scenes at the factory are truly remarkable in a uniquely cinematic way. They hardly contain any dialogue and put you in the workers place in a remarkably efficient way.

Highly recommended.

I Compagni is memorable. When we consider why films move us, affect our lives, indeed, create us to some extent, we think of films such as this. This is not just an artistic triumph for all its filmmakers, but also a moving document of humanity. We take measure of Mastroianni not by his range of performance but by his deep involvement. Like France's Charles Aznavour has his heart in his song, Marcello Mastroianni is fully engaged in his performance. As Professor Sinigaglia in I Compagni, Mastroianni is at his best form. The source of his intensity is not his surface emotion, but the depths of his soul.

I saw this in theatrical release 40 years ago, and have been longing to see it again. It has long been on my top 10, no, my top "1" list. In my opinion it is Mastroianni's best film, and the most memorable labor film I can recall seeing. MAK-4's comment that this is the movie "Matewan", "Molly Maguires" and "Germinal" tried to be, really nailed it. However, although my 40-year-old impressions are indelible, they are no longer detailed. What a tragedy that "Divorce Italian Style" is available on DVD, and "The Organizer" is not available at all.

Earnest, as 1 commentator said? Yes. Depressing, as the same commentator said? No, no, no. It's realistic, showing what was and too often is, not upbeat with false hopes for the future, except that the perseverance of the title character is upbeat. The Organizer is one of the best, perhaps the best, movie about union organizing that I can recall. As is often the case, Mastroianni's acting is different from any other role he has played. The same is true of Salvatori and Girardot. The movie itself is far superior to director Monicelli's Big Deal on Madonna Street, which doesn't really hold up today. I saw The Organizer when it first came out in the US and later on VHS. A DVD is long overdue.

The struggle of the working class for shorter hours and better conditions in a Torino textile factory is well portrayed in this somewhat depressing film.....depressing because in many parts of the world the confrontation between management and workers has still not been resolved. The introduction of scab labour to replace striking workers brings the film to a dramatic climax.

It's a splendid cast with believable characters giving us both sides of the eternal argument. Is a 14 hour day with half hour lunch break asking too much of workers?

This is a film of great atmosphere created by the factory sets and the continual thrashing noise of the looms. When the factory whistle blows at 8 PM you share the joy and relief of the workers after a hard day. This is a documentary type drama to be seen, to be believed and to be remembered for we know that these workers and others like them put their jobs on the line for conditions that we now enjoy to-day.

Along with the U.S. "Salt of the Earth" this is one of the few films from nonsocialist/communist countries to take a deep and sympathetic look at class struggle and the conditions that led to the formation and defence of labour unions. It's an emotionally excruciating film thanks to Mastroianni's greatest performances among so many great performances, and the superb screenwriting and direction.

Most comments on this movie are positive - and quite rightly so. Except for someone who said I Compagni was "depressing". Well, of course it's depressing : it's an Italian comedy ! Why do you think Monicelli and writers Age-Scarpelli abolished the happy end from popular comedy with their milestone farce I Soliti ignoti? Because humor has nothing to do with good feelings. At least, it didn't to the eyes of that crazy movie industry which for a while gave its country of origin the dimensions of a continent.

Which brings me to this other topic : is it possible that most comments here were made by people who saw that movie with English subtitles? That can be a problem, especially for comedy. To difference of all other countries of the western world, English speaking markets (United States, England, English Canada) never developed a dubbing industry worth of the name. (Which also means that when they nevertheless try to dub something or other, the result is generally awful). Of course, from the point of view of domestic market dominance, that's excellent : with such a prophylactic wall, no foreign movie can seriously compete with English-speaking productions. (American comedy director Mel Brooks lead the battle a few years ago to have the French farce Les visiteurs dubbed in English, and lost).

Sometimes, I agree that subtitles are the least worse solution. But not when it comes to comedy, to farce, to entertainment. A subtitled comedy IS NOT FUNNY, or much less funny than the original-language OR dubbed version. For comedy is a matter of tempo, of timing : the one-liners have to fall in place all at the right millisecond. (Even more so when it's written by Age-Scarpelli, the best comedy writers in movie history!) And if you're busy reading the words down below instead of watching the faces of the actors, most of the time, you miss the shot.

To me, the most striking aspect of I compagni (which I saw and re-saw in French as Les Camarades) is that it is surprisingly funny : not unlike Monicelli's and Age-Scarpelli's preceding masterpiece La Grande guerra, I Compagni is a commedia all'italiana, i.e. a tragicomic, satirical fresco where epic and derision are mixed in equal proportions. This is what makes I compagni the best strike-movie ever made - better than Eisenstein's The Strike?!? yes sir! better than John Ford's The Grapes of Wrath?!? yes madam! better than Miguel Littin's Actas de Marusia, starring our beloved red icon Gian Maria Volontè?!? yes comrade! For its humorist's view of life is the perfect antidote against the rhetoric that almost always permeates that kind of film.

Mario Monicelli, Age-Scarpelli are ENTERTAINERS. Comedy specialists. For sure, the type of entertainment they were cooking back then was at the antipodes of Hollywood's feel-good, reassuring, consolative recipes, but IT WAS a recipe all the same, attracting spectators in Italian movie theaters by millions and millions. Commedia all'italiana is a SERIAL, an industrial recipe, producing tons and tons of movies each year between 1958 and 1980.

My problem here, you see, is one of perception : as soon as a movie is not American, it is almost automatically perceived in the United States as something "for intellectuals", happy few, snob radical-chic, whatever. The idea that foreigners also make ENTERTAINMENT for the million is quasi taboo. Well, it is a grave mistake.

As a spectator, I've never been so entertained than by Mario Monicelli's great comedies of the 50s, 60s and 70s - even when they are also very tragic (i.e. "depressing"), as this one evidently is.

Today, as one "great" corporation after another collapses under the weight of its own deceit, I Compagni should be seen by everyone. For at least 20 years, we have been told that unions and regulations are obsolete hindrances to the miracle of The Marketplace. Now that even Alan Greenspan, an enormously powerful acolyte of Ayn Rand and her adolescent mirror-philosophy to Marxism, has testified that "I was wrong." As he admitted that he now sees that unregulated capitalism will inevitably fall under the spell of selfish, unfeeling greed, we find ourselves almost back at the beginning of FDR's reforms. The "American Dream" didn't just happen; it wasn't automatically granted by benevolent businessmen. It was fought for, and won despite enormous obstacles. It is true that the final scene of this film is heartbreaking. But it should not be seen as depressing. A battle has been lost. But the war was eventually won. Many of those gains have been recently tossed aside out of historical ignorance and childish acceptance of corporate propaganda. But if the American people will act and vote intelligently, workers and capitalists alike will regain a humane balance.

Titled "I Compagni" (The Comrades), 1964 American release of this controversial Italian film was as The Organizer, no doubt to avoid an anti-Communist reviewer backlash. While Marcello Mastroianni's Professor Sinigaglia endures some embarrassing indignities, he overcomes them. Working-girl refugee Niobe (wonderfully portrayed by Annie Girardot) helps him both emotionally and nutritionally. This is a wonderful film about not giving up on solidarity. I hold it in higher esteem than Norma Rae, one of the very few other films about working people organizing. The film suffers from being viewed as a not-so-funny comedy because of its over-individualized title. For many years, it was difficult to get a print for showing. Bosley Crowther favorably reviewed it for New York Times 7 May 1964. There is a review in Film Quarterly, Autumn 1964, which I have not seen.

The Organizer (The Comrades) is a historical drama, whether you also take it as comedy or not. The story happens in 1890s Italy when it had a newborn proletariat, not one as experienced as Germany or Britain. On the other hand, Italy did not have Bolshevik leaders as "backward" Russia would a decade later. The strengths and weaknesses of the professor, as well as of the proletarians of Turin, are true to the setting, which makes The Organizer an excellent realist movie. With the historical place in mind, the viewer gets a lot of insight into the key problem: how can the working class win? Not every battle, but the war.

This movie is an amazing study of human behaviour from the sheer selfishness and greed of the exploiters to the fear and desperation of the exploited. It is a testament to the weakness of humanity be it the weakness of greed leading to lack of compassion for one's fellow on the one hand and to the weakness of the exploited to allow themselves to be exploited for fear of losing the very little they have. The Organizer is the exception. He is not weak. He is compassionate. For this he pays dearly. Hated by the exploiters and not understood by the exploited. Perhaps he does not even understand himself. A powerful film and a must for anyone concerned with the current horror of Neo-Liberalism and global warming.

This is the movie are about the labor class and problems they faced.

Group of labor working in a factory in Italy was facing the problem of working 14 hours a day.

They have no medical reimbursement or medical claims or no insurance for fatal accidental nor getting the perks of normal working class.

It started when one of the workers got his arm struck in machine and had the fatality.

Labors were fed up with the routine accidents and continuous work for 14 hours.

The fatality is due to tiredness and fatigue caused by 14 hours' work.

The coup was organized by one of the members running the alarm of closing call at a earlier time for labor to exit early from work.

He was subsequently faced the consequence from the management.

Finally, a professor(Marcello Mastroianni) arrived to instigate a wide fight by staging a strike and what happens next during and after the strike is the story of the movie..

You are sure to cry in the end .

The Story is purely based on the causes for creation of labor law where labor was forced to work for14 hours and reason for the unions to form.

You can understand the reason for the philosophy like communism or Marxism.. Probably current generations including me do not know the importance getting a daily 3 times meal and a proper place to sleep and have cloths to change daily.

These kind of movie shows how the above basic necessities were not available to the commoner.

In one of the dialogues, farmer told that factory worker is much more gifted than them implying the farmers were much more in pathetic conditions( As always in every country like india).

Director Mario Monicelli is known for his both comedy and also the tragedy shown in small details.

In a very small scene with a small detail he will show the greatest agony.

For example, Elder brother who works in factory beats is younger brother to study well in order to avoid this criticalness and poverty and to live better life. Professor looking at the food always showing his hunger even though he has the opportunity to live a better life with his wife. An Ethiopian always watching people eating food and thinking for his own poverty stricken family and so on.

Watch La grande Guerra 1959(Mario Monicelli )to know such above nuances and in every small part of scene they have showed the agony.

Marcello Mastroianni has his own way of producing a classical acting and his presence is always noticeable through out the movie.

Agonies of the labors.