This is how I would introduce a newcomer to foreign classics, from most accessible to least accessible. I'm still a…
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…
Chronic rewatch list member, vivid dream inducer
Wow, I don't even know what that movie did to me. The colors, the colors. Blue is everywhere. What does it mean? This feels like a movie I need to see many many more times.
I guess Bernardo and I just don't get along.
I don't understand how such a good story was executed so poorly. This could have been a LOT better.
The visuals are absolutely beautiful, for starters. This movie is a must-watch for the incredible camerawork and lighting alone.
It's also a political film for sure, but what I gained most from it was a study of the main character and his decisions regarding his Fascist "sympathies" and work as a member of the Secret Police. It's far from merely political, it's pretty riveting as well. I don't think it's anything to write home about compared to the film's gorgeous aesthetic, but it's certainly worth mention that the film has more to offer story and character-wise than say, a box of rocks.
”Really serious people are never serious.”
THE BOTTOM LINE: The Conformist is a film that I admire and respect more than I love. It’s beautifully shot—the scene with Marcello talking to Professor Quadri in his office as he closes one shade to conceal himself in darkness while Quadri is left bathing in bright sunlight is possibly the most brilliant of all. The story itself feels kind of piecemeal; patched and stitched together but nothing of real substance ever shows itself. The movie’s morality statements can sometimes come off as a little heavy-handed (regarding Fascism, homosexuality, religion) and certain elements of the plot feel undernourished (Marcello’s immediate attraction to Anna, for example) which causes the bulk of the movie…
Bertolucci classic about Italian fascism. Hey! I seen VINCERE. And CABARET. The story doesn't do as much for birth of fascism, though (like Bellocchio did for Mussolini or Fosse did in his way for Hitler) and it's comfortably between them in quality: it takes off when fascism's already at root in society (like Dick's Man in the High Castle). I really think it's badass, though, when politics curdles and spoils a guy who's already fragile, like Heart of Darkness or APOCALYPSE NOW. Something about conforming? to go and kill a college mentor just because the government in power tells you to? Yeah, it hammers in a way pretty obvious, but it's not bad all in all. I won't say Kubrick missed an opportunity with Burgess's words, to bring a CONFORMIST-like political spark back to CLOCKWORK ORANGE's story: but, hey, hey, different things do different things.
The editing is near perfect. The film is fully Italian, but has a hint of Brazilian Cinema undertones.
Those below are not available on the site (from what I can tell).
24 Frames Per Century
Black Something (Zellners)…
Quando comecei a assistir mais filmes eu precisava de um caminho pra seguir e caí de cabeça em um monte…