Petri, Elio

▪ Italian filmmaker

born Jan. 29, 1929, Rome, Italy

died Nov. 10, 1982, Rome

      Italian motion picture director and screenwriter.

      Petri's formal education was limited; most of his formative experiences occurred on the streets, in his neighbourhood, and in the local cell of the Italian Communist Party, of which he was a militant member until 1956. That year, when the Soviet Union invaded Hungary, he began to distance himself from communism. He nevertheless maintained a lifelong interest in social issues.

      After working as a movie critic for a daily newspaper, Petri began his career in motion pictures in 1952, collaborating on the screenplay for Roma ore 11 (“Rome, 11 O'clock”), directed by Giuseppe De Santis. He continued to collaborate on screenplays as he ventured into directing short documentaries during the mid-1950s. He made his first full-length film in 1961, directing and coauthoring L'assassino (The Lady Killer of Rome), starring Marcello Mastroianni (Mastroianni, Marcello). In 1962 he directed I giorni contati (“Numbered Days”), a film that echoes the works of Michelangelo Antonioni (Antonioni, Michelangelo) and Ingmar Bergman (Bergman, Ingmar). In this melancholy story of a welder who, fearing that he has only a short time to live, abandons his work and attempts without success to enjoy life, Petri for the first time explores what would become a dominant theme in his work: the lack of moral values in modern consumerist society. Despite formal excellence and talented acting, Petri's first two films were not popular successes. In 1963 he directed the more popular Il maestro di Vigevano (“The Teacher of Vigevano”), starring Alberto Sordi and Claire Bloom (Bloom, Claire), and the following year the episode “Peccato nel pomeriggio” (“Sin in the Afternoon”) for the film Alta infedeltà (High Infidelity). With the popular La decima vittima (1965; The Tenth Victim), starring Mastroianni and Ursula Andress, he returned to his preferred subject: the alienation of individuals in a materialistic and compassionless society.

      The Sicilian world of organized crime was the setting for Petri's next film, A ciascuno il suo (1967; We Still Kill the Old Way). This work marked the director's meeting with Gian Maria Volonté, the great actor who in the years to come would star in several of Petri's better films. In his next effort, Un tranquillo posto di campagna (1969; A Quiet Place in the Country), starring Franco Nero, Petri used the horror genre to depict the despair and alienation of a young artist.

      In 1970 Petri directed the film that is considered his masterpiece, Indagine su un cittadino al di sopra di ogni sospetto (Investigation of a Citizen Above Suspicion). The film—a bitter parable about the degeneration of power—won an Oscar for best foreign film. He collaborated with the poet and director Nelo Risi for the television film Dedicato a Pinelli (1970; “Dedicated to Pinelli”), a moving remembrance of the anarchist Giuseppe Pinelli. Petri next directed La classe operaia va in paradiso (1971; The Working Class Goes to Heaven), which, along with Investigation of a Citizen, was one of his most popular films. His later films, such as La proprietà non è più un furto (1973; “Property Is No Longer a Theft”) and Todo modo (1976; “One Way or Another”), were neither critical nor popular successes. Petri's last works were the television production of Le mani sporche (1978; Dirty Hands), an adaptation of Jean-Paul Sartre (Sartre, Jean-Paul)'s Les Mains sales; and the film Le buone notizie (1980; Good News), starring Giancarlo Giannini.

* * *