Monicelli, even as an old man, in the introduction included in this Criterion release, admits that he is a communist and therefore, sadly and pathetically, until the day he died, still stuck in the rigged banker-controlled false left-right paradigm which persists to this day as a worldwide clown show charade for gullible media dupes to swallow. What is outside that paradigm and defeats it for good is never allowed discussion and is, in fact, demonized as soon as anybody even dares venture there. Massive censorship on all major online platforms now has made the internet just as irrelevant as TV and Radio before it for researching the real truth of any issue. Only art remains for those who want the truth of the human condition and the great thing about real art is that it does not matter what professed ideology the maker of the work claims to have, if he is a real artist and knows the human condition well and how best to express all aspects of it, he will transcend all the hogwash of his own ideology and brainwashing and be lifted on a higher plain of truthThis is what Monicelli, through his specifically comedic genius, is able to accomplish in "The Organizer" whereas someone like Bertolucci completely failed in his expensive and beautifully shot bloated Stalinist melodrama "1900" (the best parts of 1900 are actually the first hour and a half or so where there is the least amount of direct political putridity intervening). You care about these characters not because of the stale and a thousand-times-told Marxist narrative of exploiters and exploited and the so-called "social message" of the movie, but because they are real people on the screen whose flawed and tragic and hilariously farcical absurd existence is laid bare by real artistry, therefore inspiring much pathos and compassion..