All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
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 idealogy 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 us exquisite cinematography that drops us in a world of trench-coats and fedora's (channeling Melville), porcelain beauties (Dominique Sanda, Stefania Sandrelli)…
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…
Holy cow, where's this one been all my life? Spellbinding. It's Godard meets Scorsese. I feel like even Matthew Barney cribbed some images from this film. Bernardo Bertolucci was under 30 when he made this? Makes me want to learn more European history, like Guillermo del Toro movies do to me.
Felliniesque horror film about the banality of evil. Nicely done.
Un film con una fotografia epica, una regia epica, un montaggio epico, una storia epi.. no, aspetta.
Lo stile è scritto con le lettere S T I L E maiuscole, ok. L'antifascismo di Bertolucci è il motore del film (e quindi benissimo, bravissimo), ok. La storia forse un po' confusa: un dramma? una commedia romantica? un film d'azione? un thriller politico? un noir? Boh bello, intrigante, ma un po' tutto un po' niente.
Però di nuovo, lo stile. Uno di quei casi in cui chiudo uno o tutte due gli occhi sui difettucci e mi godo la maestria cinematografica.
Review In A Nutshell:
Much of its subtext flew past me, experiencing Bernardo Bertolucci’s supposed opus with a narrow vision, taking in instead is the superficial slick and gloss that comes through the use of its camera and delivery of tone, managing to visually impress in one scene then to rise a surprising chuckle in the next. The Conformist may be a film that speaks in great volume of the narrative’s political undercurrent and character development, but it seems another viewing is critical in earning such insight.
So gorgeously shot. Someone tell me how Vittorio Storaro shot all those twilight scenes in that mesmerizing shade of blue, please and thank you.
But structurally, thematically, this movie is such a beguiling, maddening mystery. The flash backs, flash forwards, dream sequences or maybe not dream sequences, they make for such a confusing experience, but still a surprisingly rich and rewarding one. Like a lot of ultra dense, intellectual European cinema, it requires multiple views, but invites those multiple views with pleasure and excitement.
An interesting adaptation of the novel. I liked the film's conclusion better than the novel's, though I wish Bertolucci had been able to achieve the same complexity of Giulia's character that Moravia had. I loved the addition of the blind friend and the blind party scene--the symbolism is on the nose, but the friend is a great device to reveal Marcello's inner turmoil. Visually stunning.
-opens all the windows and doors-
WATCH THIS FUCKIN MOVIE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Beginning to end, this was incredibly shot, perfectly plotted, and phenomenally acted. It's always the ones you don't expect a lot from that end up knocking you on your ass.
Moment-to-moment, the most visually astonishing film I have ever seen. Kind of like Ôshima's Violence at Noon, it seems to rework its visual syntax with each new scene, but with the added dimension of colour and those cavernous, jaw-dropping sets, the scale of which anticipates something like Gilliam's Brazil. The opening flows right out of Godard's Contempt, but with Jean-Louis Trintignant as an inverse Melville gangster (amusingly, but unintentionally reprising his crossed-arm pose in My Night at Maud's). Took me a while to even focus on the actual narrative, which is why I desperately need to see it again, though the main themes seem simple enough. (The structure is dazzling, though.) A visual tour de force that I'd see…
Vittorio Storaro's lensing never ceases to amaze me. Simply magical and breathtaking.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…