Mauro Bolognini is a famous Italian film director. He directed a total of 46 films and a considerable number of plays in his lifetime. He was a protagonist of Italian culture after World War II. He was known as an internationally renowned director and a milestone in Italian cinema in the 1960s and 1970s. June 22, 2022 is the 100th anniversary of his birth. Italy has established a national commemoration committee to review his artistic works, re-examine and reposition the important role he played in the history of Italian film. The films directed by him have many characteristics: First, most of them are adaptations of famous works, and he is known as a master of adaptation. His most famous film "Metello", which he collaborated with Morricone, was adapted from the same novel of the same name by the famous Italian writer Gaetano Carlo Chelli. The second is to pay attention to the elegance of the film. The scenery, costumes, and props are unique and even sculptural, which is eye-catching. This is related to his cultural background, having graduated from the Department of Architecture at the University of Florence; third, his movies always contain some erotic content, but most of the scenes are limited to an appropriate scale, as an Italian joke says: 'One foot in Church, One Foot in the Brothel", Called Pink New Realism. Fourth, he always cooperates with many big-name celebrities. Including the main actors, composers, photographers, costume and makeup artists and more. Such as Pasolini, Jean-Paul Belmondo, Marcello Mastroianni, Massimo Ranieri, Anthony Quinn, Sophia Loren, Catherine Deneuve, Crow Dia Cardinale, Ennio Morricone, etc. are all his good friends. In the 25 years from 1966 to 1991, he collaborated with Morricone on a total of 15 films, making him the director who has collaborated with Morricone on the most films. The reason why the author pays attention to this film first begins with Morricone's two concerts in China in 2009 and 2010. In an article I wrote for the comparison and research of Morricone’s 6 concerts in Europe, America and Asia from 2002 to 2010, I noticed that until the Beijing concert started in 2009, that is, after Paolonini’s death in 2001, In the 8th year, a "Tribute to: Mauro Bolognini " section appeared. This section contains two pieces of music, one is the theme song of the 1976 movie "L'eredita fferamonti / The Heritage", and the other is the theme song of the 1975 movie "Per le antiche scale / Along the Ancient Stairs" . The author believes that this phenomenon not only illustrates Morricone's friendship with Boronini, but also illustrates the importance Morricone attaches to the soundtracks of these films. As lovers of Morricone, we should certainly value these films and its music

This film reflects the most common and realistic problem of "heritage" and its inheritance in capitalist society. Although it was originally created in the 19th century, it still has very realistic warning significance in the 21st century, especially in contemporary society where money worship is prevalent. One of the protagonists in the movie is Feramonti, who ran a bakery (or bread workshop) with 12 (or more) employees for 40 years. The wealth accumulated in his hands does not include real estate, bonds, etc., and the cash alone amounts to 2,358,000 lire. We can't find the exchange rate data of the lira in the late 19th century, but according to the film, 3,000 lira can buy a medium-sized hardware store. According to the current actual situation, it is equivalent to at least 150000 USD. In other words, 1 lira at that time was roughly equivalent to 50 USD in current. 2,358,000 Lira is the current 120 million USD. Having such a amount of cash can be called a big capitalist. How Feramonti achieved such a huge accumulation in 40 years is not explained in the movie. All we can see from the movie is that he is a very stingy man who would not let go of a coin that a worker picked up from the ground. He is also indifferent to his children, caressing about everything, and shows no care for the whole family. Completely driven by money, conflicting interests, and full of resentment. This can also be seen as the fundamental origin of the inheritance dispute in the movie.

His three children represent three types respectively. The younger son Mario was a playboy, fooling around with money and women all day long, and finally committed suicide; the older son Pipo was honest and conservative. Although he had to go through some backdoors for business, he still hated those evil ways from the bottom of his heart. Under the successive blows of social reality, he had to drink to drown his sorrows, and finally became crazy and was sent to a mental hospital to die. The eldest daughter Tita was most affected by Feramonti and was addicted to money. She married Flynn, a wealthy and powerful congressman, and took his father to court for her dowry. She attaches great importance to inheritance, is dark and scheming, and destroys the relationship between Feramonti and Irene by means of anonymous letters. Irene is the wife of the eldest son Pipo. She is smart and beautiful, but very scheming and tries her best to obtain the inheritance. She finally said to her lover Mario: "I married your brother for your father's money." Although she had Feramonti's autographed will in her possession, she suffered a bloody blow and lost money and person both in the face of the powerful world and power. The court ruled tha the final victory belonged to Congressman Flynn and his wife Tyra, who represented the bureaucracy. There is a sentence that is repeated several times at the end of the play: "Whoever owns the world will win." This sentence reveals the essence of law under the control of forest law and is worth pondering. .