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  1. en.wikipedia.org › wiki › Ruling_classRuling class - Wikipedia

    In sociology, the ruling class of a society is the social class who set and decide the political and economic agenda of society. In Marxist philosophy, the ruling class are the class who own the means of production in a given society and apply their cultural hegemony to determine and establish the dominant ideology ( ideas, culture, mores ...

  2. The Forgotten: It Was So Nice Inside His Head. When an English earl dies under embarrassing circumstances, the title passes to his son Jack (Peter O’Toole), who has been locked away for 8 years after claiming to be the second coming of Jesus Christ—much to the dismay of the rest of the family, who’d like nothing more than Jack out of the way.

  3. The Ruling Class. Directed by Peter Medak • 1972 • United Kingdom. Starring Peter O'Toole, Alastair Sim, Arthur Lowe. Peter O’Toole gives a tour-de-force performance as Jack, a man “cured” of believing he’s God—only to become Jack the Ripper incarnate. Based on Peter Barnes's irreverent play, this darkly comic indictment of ...

  4. The Ruling Class” was first a theatre production and then a film. With the transition the producers incorporated many external scenes – perhaps intending to enhance the theatre experience by moving beyond the proscenium. But this wasn’t always really necessary – for example, the duel between Lord Gurney and the psychiatrist starts in the hall and then moves to the rooftop for no ...

  5. Peter O'Toole gives a tour-de-force performance as Jack, a man cured of believing he's God only to become Jack the Ripper incarnate.

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  6. Starring Peter O'Toole, Alastair Sim, Arthur Lowe. Peter O’Toole gives a tour-de-force performance as Jack, a man “cured” of believing he’s God—only to become Jack the Ripper incarnate. Based on Peter Barnes's irreverent play, this darkly comic indictment of Britain’s class system peers behind the closed doors of English aristocracy.

  7. The Ruling Class may not be recognized as a neglected masterpiece—at least, not yet. But if we remember how long it took for Welles’ The Magnificent Ambersons and Renoir’s Rules of the Game to be recognized as supreme anatomies of social unease, perhaps its time will come. Returning to Peter Medak and Peter Barnes’ film nearly thirty years after first reviewing it and being carried ...