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After losing a finger in a work accident, an Italian worker becomes increasingly involved in political and revolutionary groups.
After losing a finger in a work accident, an Italian worker becomes increasingly involved in political and revolutionary groups.
The film's central thesis explicitly critiques capitalist exploitation and worker alienation, advocating for radical class consciousness and collective action as a means to challenge the oppressive industrial system.
This 1971 Italian film features casting that is traditional for its setting and era, with no intentional race or gender swaps of roles. The narrative primarily critiques capitalism and the exploitation of the working class, focusing on class struggle rather than explicitly portraying traditional identities negatively in a modern diversity, equity, and inclusion context.
The film uses the concept of 'heaven' ironically, suggesting that traditional religious solace is inadequate or irrelevant to the material suffering and alienation of the working class. The narrative implicitly critiques the failure of religious frameworks to address systemic exploitation, instead focusing on human agency and class struggle for liberation.
The film does not feature any identifiable LGBTQ+ characters, themes, or storylines. Its narrative is entirely centered on the socio-political struggles of the working class in an industrial setting, offering no depiction relevant to LGBTQ+ representation.
The movie does not contain any action or adventure elements.
The film is an original story with no pre-existing characters from source material, historical records, or prior installments. Therefore, no instances of gender swapping occur.
The Working Class Goes to Heaven is an original film from 1971, not an adaptation of existing material, a biopic, or a reboot. Therefore, its characters are original creations without a pre-established race from prior canon or history, meaning no race swap can occur.
Combines user and critic ratings from four sources