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…
Films that double as if they are art on a canvas are some of the richest and most beautiful things that can come out of cinema, Il Conformista or The Conformist in English is exactly that. It not only has a very good story but in general looks stunning, the film is known for its camera angles but also its use of colour and the general production design that also catches the eye. From Italian director Bernardo Bertolucci comes this excellent piece and it is essential for any budding director or cinematographer that they witness the skill level put into this. The film is basically all about Fascism and shows a man sent on a mission to take out a…
This is the kind of film that takes a great deal of thought and understanding to truly appreciate it. I'll admit, I wasn't completely sure as to what was going on throughout the run of the film, but the cinematography alone was brilliant. It escalated the narrative and experience to a place that nagged at my brain to look deeper into understanding the movie. The framing has a giallo feel to it that delves into different genres like thriller and comedy.
The Conformist is my second venture in to the world of Bernardo Bertolucci after Last Tango in Paris. I've found both super stylish but narratively empty. In every technical aspect these films exceed but there's almost nothing substantive to hitch my wagon to, which raises an important question regarding style versus substance: can a film have one and not the other and still succeed? And I've come to a boring answer. It's a case by case basis. With The Conformist, I suppose it worked for me more than it didn't, but generally I still like my films to have both. That's what keeps this from being a good movie and not a great movie.
Plays like gangbusters the second time through. Whipped by. This movie has everything, and is among the very best things the medium has produced.
Just a heads up, the new digital remaster isn't great.
Of course, the Le Samourai comparison can't be avoided, however this doesn't have a music theme that's that memorable. Now, it goes into some weird places, looses steam near the end and has some Italian traits that I'm not crazy about, but Bertolucci, Storaro and Technicolor™ make this one of the most amazing films visually, even though the imagery is at times favored over the storytelling.
Still prefer Le Samourai, though.
it's worth the watch for the direction and the flashes of craziness here and there that can be unsettling, but there's not enough to cover its longish-ness. overall it's good, with an interesting viewpoint on its subject, but that's it.
Awesome cinematography, really well stylized. Compelling characters and a depressing but immersive portrayal of Fascist Italy.
The Conformist was directed by Bernardo Bertolucci. It is actually my first film from him and it was a a fine introduction to his work. I liked the story and the acting was very good across the board. The real standout of the film is the cinematography by Vittorio Storaro (Apocalypse Now). The use of lighting is incredible and the composition is excellent. They definitely used their beautiful locations to the fullest. Overall I liked The Conformist and I feel like it will only get better on rewatch. 7.5/10
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…