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…
Beautiful to look at but not much else.
Though I feel as if I have missed something that others have found in this movie, it was a beautiful film. I just don't think it's the best thing ever made.
It's beautiful, interesting, and weird, but The Conformist doesn't have characters that I believe or care about.
Style defeats content in a 2nd round TKO. Was major for me in my late teens/early 20's, but now I see that the general absence of conflict and the lack of a moral quandary with Marcello's task/mission - which Bertolucci doesn't seem too concerned with as long as the beautiful shots cascade - considerably weakens the film. We need to run tests on Vittorio Storaro to make sure he's not God.
7.3/10 (Bernardo Bertolucci, 1970) [Italy]
Qué grande Vittorio Storaro...
Y como narran visualmente las decisiones (o sensaciones) del prota: mencionaré dos en la cocina del restaurante esa toma sin corte con la luz en movimiento, demostrando como fluctúa el personaje internamente, y en la siguiente escena al final del baile cuando esta en el centro y se siente arrastrado por la multitud...
Whooooaaaa aquí no hay un solo cuadro feo. Estéticamente es preciosa! Quiero volverla a ver y analizarla a detalle. De verdad creo que es cinematográficamente perfecta!
Y bueno. Las actuaciones, el guión, etc. Todo increíble!
También señalar que tiene uno de los protagonistas más detestables que he visto.
Beautiful cinematography, but I couldn't focus on it because the bad dubbing was so distracting.
المشاهدة الثانية أفضل بمراحل ... مش فقط على مستوى إعادة إكتشاف العمل الإخراجى العظيم اللى قدمه بيروتشيلى ... و إنما أيضاً على مستوى فهم الحكاية و الإيقاع الداخلى للشخصيات ... المنجز التصويرى فى الفيلم ده هو واحد من نخبة النخبة ... إيطاليا الفاشية كما لم تراها من قبل
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
Between 2015 and 2016, a series of…
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…