All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
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…
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…
The Conformist - arguably Bernardo Bertolucci's masterpiece - works greatly as both a meandering political thriller and a dark psychological character study. It is tinged with a healthy dose of sexual repression and eroticism, highlighting the already complex nature of the characters and situations. It is vastly unpredictable and always intriguing. Moreover, this film has some of the best, most loveliest color cinematography I've ever seen in movies. Every frame is so neatly, beautifully composed, adding on extra layers of crypticism to the already pervading threat of ambiguity and betrayal. An awesome film.
this is some of the deepest and best put together characterisation i have ever seen. it is mesmerising how well the film balances the development of the main character's personality with his political beliefs, gracefully showing how they feed off of one another. his place in the meticulously paced plot always feels clear, visceral, and real.
it speaks volumes that the cinematography takes a back seat, because it is also brilliant. however, this is also where i think the film slightly falters. the vast majority of the shots are beautiful and work well, but the film occasionally looks a little too clinical, detracting from its reality, even if it complements its fascistic themes.
my criticisms are both miniscule and debatable. the film is absolute bliss from beginning to end. and what an ending.
Top ten "for the architecture" movie. The meek shall inherit the earth, and they'll do it as sexily as possible.
"The impression of normalcy. Stability, security. In the morning when I'm dressing in the mirror I see myself. And compared to everyone else, I feel I'm different."
ক্লেরিচি প্রথানুসারী এবং সাধারণ হওয়ার একনায়কতন্ত্র গ্রহণ করতে চেয়েছিল।মুসোলিনির একনায়কতন্ত্র ক্লেরিচির জন্য সুক্ষ উপহাস ব্যতীত কিছুই ছিলনা হয়তো।ক্লেরিচির নিজের মাঝেই যে লুকিয়ে আছে অবদন,কাম,ঘৃণা,ভয়,সংশয় এবং অস্তিত্ববাদের একনায়কতন্ত্র।আর তাই সে একই সাথে ফ্যাসিস্ট এবং অ্যান্টিফ্যাসিস্ট;পরাক্রমশালী এবং দুর্বল।প্লেটোর গুহা আর শৈশবের কামাতুর আত্মদহন ক্লেরিচিকে বিষাক্ত করেছে।আর তাঁর প্রেম,বৈরাগ্য,আভিজাত্যকে অনবদ্য ঐশ্বর্য দান করেছে Vittorio Storaro কাব্য-চিত্রগ্রহন।Vittorio Storaro এর জন্যই হয়তো আজ আমার এই চলচ্চিত্র-সম্মোহন।Vittorio Storaro, তুমিই তো ১৯৭৯ তে কমলা-লালের বিষ দিয়েছিলে আমার দুচোখ জুড়ে;অ্যাপোক্যালিপ্স নাউ... আত্মদহনের রঙধনু।
স্থান-কালের মাঝে দৃষ্টির স্থপতি আন্তোনিওনি, আর তাতে ফ্রয়েড আর সার্ত্রের নিমিত দ্রবন বার্তুলোচ্চি।ইহা তাই আমার চলচ্চিত্র;আমার আপন একনায়কতন্ত্রের কবিতা।স্পষ্ট,অভিজাত,অন্তর্দৃষ্টিময়।
Giulia: [after overthrow of Mussolini] What are you going to do now?
Marcello: The same as everyone else who thought like me. When there are so many of us, there's no risk
De Bernardo Bertolucci, es una película de un personaje atormentado y que no acaba de encontrar su sitio en el mundo que le rodea, y que lo afronta de manera fría y en ocasiones violentas, interpretado magistralmente por Jean Louis Trintignant.
La trama que está en segundo plano, nos ambienta en la época fascista italiana y lleva a nuestro protagonista a realizar un atentado, tras habersele sido encomendado. Pero, como ya digo, está en segundo plano, ya que a Bertolucci le interesa más mostrarnos al protagonista y que lleva todo el peso de la película y es raro la escena en la que él no aparece.
Gran película, proveniente de una gran época de convulsión y tramas políticas…
Still one of the most haunting and beautiful endings to grace the cinema.
The deepest Bertollucci ever !
Hell is other people; fascism is yourself. Or is it the other way around?
Ho paura, sono pazzo, ma sono bella
I wish I could see images like this every night in my dreams.
Incredibly dazzling evocative masterpiece. It's hard not to drink up the visuals but the fragmented plot-line and superb acting is just as hard to ignore. Consider me wowed.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game