This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
A weak-willed Italian man becomes a fascist flunky who goes abroad to arrange the assassination of his old teacher, now a political dissident.
Too-good-to-be-true first time viewing. The Conformist is a quiet character study like Le Samourai but with the content reversed: Marcello is desperate to be as cool as Jef, and in his desperation he constantly reveals how uncool he actually is. His frantic belief in the big Other belies his lack of belief in himself. Through this psychological drama, the film aligns fascism with a kind of impotence and repressed sexuality. The cinematography is also all-time great status (primarily shot composition and color palette, but also the DP's mysterious ability to shoot as if his massive film camera were a weightless nothing he can manipulate as he pleases). I would have immediately rewatched it if not for a prior engagement to see Rebecca on the big screen; but there's always tomorrow.
PTAbro's World Tour Stop 5: Italy
This is the story of a coward. In The Conformist, the blame for cowardice is shown not to lie completely with accused, but neither does he come close to being acquitted either. Jean-Louis Trintignant's Clerici, as the titular conformist, only wants to fit into the society he lives in, Mussolini's fascist regime. He wants so badly to belong somewhere, anywhere, that he's willing to kill his stand-in father (an old professor), just to be granted the right to marry a woman he doesn't really love (the adorably flapper-ish Stefania Sandrelli) in order to attain some sense of 'normalcy.'
The state of society (as warped and twisted as it seems today), events in Clerici's past…
Surely a contender for the most beautifully photographed film to grace the screen, Bernado Bertolucci's Il Conformista is truly a wonder to behold. Wrapped in an 'every frame as a picture in a coffee table book that I would happily peruse every day' is a tightly woven tale of political intrigue set against the back-drop of fascist Italy, where Marcello Clerici (Jean-Louis Trintignant) travels to Paris to deal out Mussolini's ideology in the form of an assassination on his former College Professor Luca Quadri (Enzo Tarascio).
The narrative is fragmented with flashbacks, demanding the viewer keep up, whilst drowning the viewer in exquisite cinematography that drops us in a world of trench-coats and fedoras (channeling Melville), porcelain beauties (Dominique Sanda,…
As a collectivist, I am very much for belonging. I am a big fan of community spirit and of togetherness. The distinction between my personal brand of collectivism and fascism, or one of many, is in the difference between conformity and acceptance. I look out on the diversity of the world, and I think how amazing it all is. I want everyone to see their differences, accept them, and appreciate them in others. In fascism, conformity is the rule. They see differences out there, and they want to quash them. They want to dress in uniform, metaphorically and often literally speaking, and destroy that which doesn't fit.
There are collectivists, communists, socialists, who hew closer to conformity than acceptance, in…
Bernardo Bertolucci's The Conformist is hands down one of the most beautifully shot films I have ever seen. It almost feels far ahead of its time, for a film shot in the late 60's/1970 to have such astoundingly moving cinematography is a feat in and of itself, but the cinematography is even better shot than most modern films. It's a testament to just how powerful this film is, and how timeless it has become.
The Conformist was far more psychological than I thought it was going to be. I had (wrongly) assumed that it was a simple cut and dry assassination story, with some kind of political turmoil plaguing the protagonist. What I got instead was a maddening delve into…
The fact that Bernardo Bertolucci directed The Conformist when he was only 29 years old is important not only as a sort of historical wonder or bragging right, but also as an insight into his portrayal of Italian Fascism. In taking his film back to 1938 from 1970, Bertolucci was rewinding to a point in time he had never personally seen or lived through (he is in a sense Marcello's child), and he was therefore necessarily creating it out of received information, distorted by the present and by his own personal understanding. This is not to say that it's a necessarily inaccurate portrayal (maybe it is and maybe it isn't; like Bertolucci, I wouldn't know), but rather that instead of…
Day 268 of 365 of my year long challenge
Week 39: It's so pretty
Ridiculously good looking, The Conformist is a film of both style and substance but the two never quite meet eye to eye.
Marcello Clerici (Jean-Louis Trintignant) is a timid man who joins Mussolini's secret police in an effort to feel normal. On an assignment to kill an old professor of his for anti-fascist sentiments, Marcello soon finds himself having doubts about the righteousness of his mission.
What is immediately striking and eternally memorable is the film's visuals. The Conformist has gone on to find life and legacy in its outstanding use of colour, movement, light and the camera, and rightly so. The film oozes…
A lot of people seem to think professional critics, of movies or otherwise, are a collection of inveterate, pompous, pretentious individuals who rejoice in acclaiming the more artsy, boring works while simultaneously dismissing publicly celebrated ones out of a sense of patrician arrogance. Basically, your average imdb voter is going to think the critics to be haughty and out of touch with reality when their collective metascore for Fight Club converges towards a mere 66, while an unpalatable, fancy french movie shot entirely in black and white such as Al Hasard Balthazar, which is not even close to making the infamous top 250, can receive such unanimous, universal appraisal from them.
Let me be the advocate of the devil here…
With a deliberately detached feel, "The Conformist" prides itself in the stellar performances and surreal vision. The cinematography is striking and grainy and makes this a film with style. It did drag a little longer than needed and I wasn't always clear on some of the character motivations. But the directing style makes it all the more engaging, especially in the heavy handed third act.
What a movie!! So beautiful and captivating. Scenes towards the end were some of the most intense scenes I've ever had to sit through. I can't believe this movie isn't more well known.
Repressed sexuality and denied desire intermingle seductively and threateningly with fear, guilt, and shame in Bertolucci's masterful, hauntingly beautiful study of Catholic guilt and fascism. Casting a Freudian eye on the twisted psyche of Trintignant's weak-willed conformist, Bertolucci mines the conflicting complexities that hide behind the banal vener of this model of a complacent upper-middle class intellectual.
Bertolucci brings a baroque, expressionistic sensuality to the chilly tension of the flim-noir-tinged assassination plot that injects an intense, dreamy subjectivity to the film, diving into Trintignant's psyche to draw out the emotions playing behind his unfailingly silent, expressionless reserve with unnervingly off-kilter angles, immaculately ordered mise en scène, and the sinisterly snaking camera, all captured in Storaro's decadently sensuous cinematography.
Stylish as hell.
The kinda film that will just keep on giving the more you watch it.
I know it's a masterpiece but I hate the ending more and more everytime I watch it.
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…
Alternatives to Sight and Sound's Top 250 Films of All Time list named by /r/truefilm's community. With notes. Inspired by…