The film is set in Turin at the end of the 19th century and opens with a scene showing workers of all ages, including young teenager Omero (Franco Ciolli), rising at 5:30 in the morning before heading to a textile factory where they work until 8:30 in the evening.

Workers Pautasso (Folco Lulli), Martinetti (Bernard Blier), and Cesarina (Elvira Tonelli) decide to form an ad hoc committee and speak to management and state their case that the 14-hour work day needs to be shortened by one hour to avoid accidents arising from exhaustion.

Moreover, a subsequent attempt by the workers to emphasize their grievances by staging a walkout an hour early on the next evening results in a humiliating defeat when they lose their nerve and stay until the usual time.

In a showdown between the strikers and an army unit dispatched to block access to the premises, soldiers fire into the crowd, killing Omero and sending the others fleeing.

Populating his densely inhabited film with actual workers, Monicelli was attempting, three years before The Battle of Algiers (1966), to create a sort of neorealist period piece; using a strategy that would subsequently be seen in Bonnie and Clyde (1967), The Organizer opens with a montage of historical photographs that skillfully segues into contemporary facsimiles.

[3] Inspired, according to its director, by the revolutionary ghosts of Paris’s no longer extant Bastille and set in the slums of late-nineteenth-century Turin, the film accepts what the influential Italian Marxist leader Antonio Gramsci saw as “the challenge of modernity,” namely, “to live without illusions and without becoming disillusioned.” To that end, The Organizer is variously (and, for some, disconcertingly) jaunty, sentimental, comic, and baffling, as Monicelli applies the tonal shifts associated with the French New Wave to a straightforward saga of working-class solidarity.

"[1] Notable for its period detail and Giuseppe Rotunno’s accomplished faux-daguerreotype cinematography, the film is not so much a call to action as to recollection—both a historical monument and a taboo-breaking depiction of a specific moment.

(Because little was left of nineteenth-century Turin, the movie was actually shot in the nearby Piedmontese cities of Cuneo, Fossano, and Savigliano, with the vast factory interior filmed in Zagreb, Yugoslavia.