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.
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 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…
The Conformist handler om en 'medløber', som arbejder for en fascistisk organisation, hvor han har til opgave at dræbe alle dem, som han får besked på, af de magtfulde hoveder i organisationen.
I denne non-linære film, får vi set hans fortid, samtidig med hændelser i nutiden, hvilket jeg synes, virker rigtig godt i filmen.
Hovedpersonen er fascinerende at følge, da han egentlig ikke rigtig ved hvad han vil med sit liv. Han kalder sig selv fascist, men den eneste grund til at han følger fascismen er at passe ind, om han så skal dræbe.
Cinematografien er fremragende. Hver eneste scene er som et maleri, hvor der enten filmes fra en unik vinkel eller hvor baggrunden og skuespillerne er i perfekt…
Dottore, fascismo y Moravia
How is this not in the criterion collection yet?
Striking movie; the scenes in the forest, while maybe not iconic as some of the other imagery going on here, stood out to me like nothing else did in this movie. Outside of, maybe, Miller's Crossing, I can't think of the woods evoking this ethereal, wondrous feeling as if they're enveloping you.
I struggled trying to get a handle on what our protagonist here was going through, he seemed unintentionally bi-polar, but the ending hits home like an exclamation point. It wasn't where I was expecting it to go. I think it tragically made me understand him a little better, though.
Hmm idk how I really feel about the plot... but the use of composition, cuts and transitions and even color were done really well for the year it was made. Extra star for the techniques.
A beautifully directed, and shot film that didn't really intrigue me until the last 20 minutes. The set design is truly spectacular. I'll admit that a lot of the subtext probably flew right over my head. Anyways, check it out for yourself. You might like it.
Bertolucci's breakthrough picture "The Conformist" is a phenomenal movie about fascist Italy exploring the human need to conform to society, while serving absolutely gorgeous imagery. Vittorio Storaro's cinematography has been hailed by just about everyone who has seen the movie and I can't do anything but join that group. I would also like to highlight Delerue's score as one of the most instantly memorable scores I've heard in quite some time. The whole movie was quite an experience.
I can't imagine it will take long before I rewatch this and give it it's rightful 5/5 rating, which I prohibit myself from giving any movie on my first watch.
Every frame, movement and angle is absolutely exquisite in Bernardo Bertolucci's psychological investigation of fascism posing as a vice-like political thriller.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…