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.
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…
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.
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 exsquisite cinematography that drops us in a world of trenchcoats and fedora's (channelling 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…
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…
Fascismo as the weakling’s favored refuge is the simple theme behind the obfuscating Viscontisms, a vision suffused with perfume and poison. Il dottore is a civil servant (Jean-Louis Trintignant) introduced like a Melville gangster, his desperate need for the "impression of normalcy" is explained to a sightless ideologue in the midst of a radio recording session. (Glimpsed through a vast glass pane, the immaculate Art Deco studio circa 1938 would morph into Lynch’s "Sixteen Reasons" incantation in Mulholland Drive.) The past holds a fateful brush with an Uranist chauffeur (Pierre Clementi); the present promises marriage to a petit bourgeois nitwit (Stefania Sandrelli) and all the mediocrity that entails; an alternate future might include escape with his old mentor’s bisexual trophy…
Consistently bursting with stylistic innovation on every inch of film. Rarely was there not an image on screen of true captivation; a vibrant, poetic experience.
Good goddamn this film is visually beautiful.
Truly one of the best, most beautiful films ever made.
I went here and there on this one, but Trintignant is among the best weakling scumbags in cinema and the final chase through the woods is one of the most horrifying and sickening moments in cinema for me. The great victory of the film is that Marcello's cowardice and passivity is sort of understandable, or at least idea of wanting to keep his head down and maintain a sort of status quo is. It's just that the status quo here is the brutality of Fascism. Reminds me in a moment in Vincere when a doctor at a mental hospital basically tells the heroine that there's a time to rise up and a time to not talk, and this is…
Yup, it's as good looking as everyone says it is. It is also, tonally speaking, one of the strangest films I've ever seen.
One of the best written, shot and directed films ever made.
An examination of sex and power, shot in some amazing locations. There's a massive variety of camera styles, from theater-esque when visiting his father, to almost found footage during the murder.
The Conformist is likely one of the saddest character studies put to film- almost a tragi-comedy in how pathetic its leading character is.
I've neither the chops or the understanding to tackle the thematic undertones here, and if I did, I'd likely just be retreading over territory covered *beautifully* by fellow LB user ScreeningNotes. What we have here is a beautifully photographed film from 1970 that puts fascism in full focus from a youthful perspective, set in 1932 (?). It's a film about how blindly some people were willing to accept this ideal without questioning it, it's a film about atoning for sins, and it's a film about cowardice; and it's also about so much more. It's an entrancing, dream like experience with lush set and costume designs and a look that deems every frame worthy of framing and hanging on your wall.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…