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.
sexy, dreamlike, beautiful
This movie is perfect but though its screenplay's contrivances are logical they do not penetrate character. Rather they explain character. Therefore in the end it all seems a bit like armchair psychology. And at times I struggled to stay awake.
Bernardo Bertolucci has meticulously directed this sexy and stylish thriller to carry the weight of its darkly complex script, but it may lack either the poignancy or the dramatic energy to remain truly memorable for some viewers.
This has some incredibly beautiful cinematography, which is evident even while watching the really low-res version that's on netflix. It's the perfect meeting between style and content. The shadowplay is beautiful, and it has a point: It symbolizes (with help of a discussion of Plato's allegory of the cave) the sort of misguided thinking that leads Marcello to make the decisions that he does.
Each shot has its own little arc. The storyline is fragmented, making use of multiple flashbacks and a jump forward in time toward the end, but the style is careful and composed. It's a masterpiece of style, and something that every movie fan and aspiring film maker should watch.
Amazingly beautiful, whether it's the shots of huge rooms and buildings that dwarf their inhabitants, or close-ups of the beautiful people involved in a tale of political, criminal and sexual intrigue. The structure jumps in time in a way that drops perplexing information onto the viewer, only to return and make sense of it later - apart from the ending, which I'm not sure I understood at all. I'm fairly sure that's my fault and not Bernardo Bertolucci's (who was only 29 when he directed this, almost unbelievably) but it did add a slight sour note to what was otherwise an astonishing experience.
Just me or is this like... one of the most beautiful things ever shot? Of the films I've seen, only Stalker seems to be in the same ballpark. Can't say I understood the whole thing as I'm a little rusty on my history of Fascist Italy (as in I've never studied it... ever), but so much of its storytelling is visual anyways that it barely seemed to matter. A masterpiece - plain and simple.
An ambitious Italian Fascist is assigned a mission while he's on his honeymoon in Paris: assassinate a former professor. Subtle and intelligent, if drawn-out, drama, with great cinematography and a then-racy lesbian subtext.
Bernardo Bertolucci made a huge splash when he premiered his movie The Conformist in 1970. The rise of fascism in Europe before and during World War II has been the subject of many films from Bob Fosse's Cabaret to Pasolini's Salo. Bertolucci's film concernsMarcello Clerici a young and ambitious member of Mussolini's regime. Clerici is obsessed with blending in and leading a "normal" life partly to gain status in Mussolini's new world order of secret police and assassinations and partly to hide his sexual desires as a secret homosexual.
Clerici starts by agreeing to marry a dull woman but soon finds himself drawn into a plot involving an old professor of his. The movie plays around with time in interesting…
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