Der große Irrtum

Set in 1938 as it follows the title character (Jean Louis Trintignant), a Fascist operative in Mussolini's Italy, is given orders to travel to Paris and assassinate his former school teacher. Trintignant is trying his best to fit into the society of his day: working for the ruling party and marrying a pretty, if vacuous, girl (Stefania Sandrelli) from a respectable family. Things become more complicated when he meets his target's new wife (Dominique Sanda) with whom he falls immediately in love. Will he carry out his orders, even if it means hurting the new woman in his life?

My description makes the film sound rather banal and cliched, but it's anything but. The style of this production is impeccable, and the cinematography by Vittorio Storaro is excellent. There are countless moments throughout the film that could easily be paused and framed as works of art fit for a gallery. Each shot is carefully set-up and arranged, and the camera movements add to the visual flow of the story. Storaro, who would go on to shoot films such as APOCALYPSE NOW, REDS, THE LAST EMPEROR, and DICK TRACY, deserves a spot in the list of greatest cinematographers for this film alone. The score by Georges Delerue is also excellent, as is the costume and production Design. I also liked seeing Gastone Moschin, who played Don Fanucci in THE GODFATHER PART II, in another role, here as a fellow fascist operative.

The narrative is very complex, and can be a bit confusing at first. Scenes jump across many different times in the protagonists life, with little warning, and the audience must pay close attention or be lost, especially in the first 40 minutes or so. I think seeing this on the big screen would eliminate much of this possible confusion. For me, though, it never reached the point of annoyance, and I was able to follow along with no trouble.

Bernardo Bertolucci's stunning early-1970s classic looks absolutely beautiful nearly forty years later. It tells the story of a fascist in 1930s Italy who is assigned to root out and assassinate anti-fascists. As the story develops, we learn that a childhood event played a large role in shaping this man's perception of himself, and that the life he is leading is largely a lie.

The story Bertolucci tells is odd and compelling, but what kept me glued to the television screen was the film's mesmerizing visual style. Bertolucci collaborated with cinematographer Vittorio Storaro, and it's not an exaggeration to say that they create some of the most beautiful images I've ever seen in a film. One might expect Bertolucci to adopt a sombre color palette for telling such a gloomy story, but that's not the case. On the contrary, he opts for lush colors, striking contrasts, and stylized lighting to create a slightly surrealistic environment that's one small step removed from reality as we know it.

A truly remarkable movie.

Grade: A+

What is most amazing about The Conformist is it's cinematography and angles.

Director Bertolucci and Cinematographer Storraro have created a masterpiece of form by using light, camera angles, and character positioning.

The architecture dwarfs the characters as they try to make sense of their existence during Italy's fascist period (1930's). They are placed theatrically at times creating a balance of space.

The Conformist is the most stunning film visually I have ever seen. Every scene is immaculate, kind of surreal, almost to rich for the senses to take in one viewing.

The story is somewhat difficult on the first viewing but one can figure the basic plot line. It is a story about repression and oppression, about nationality, political beliefs during a paradigm shift. It is about acceptance and avoidance. It is about playing it safe in a time of tension.

The final scene suggests what the main character might have become had he chose the truth. It is left up to us to judge him and realize that it is sort of a catch 22; either way, he would have ended up in that dark place where a fascist country would mentally place same sex love.

See this film to see the potential of the beauty of film.

Conform or not to Conform? That is the Question.

Despite the wide praise for this film, I did not find it to be as good as many critics judge it to be. Bertolucci's film simply failed to engage me as I had hoped.

At the very least, anyone watching this film ought first to read the Wikipedia summary of the novel, The Conformist. It will help you understand what is happening. However be warned: The film omits various key plot points in the novel and changes the novel ending. Only after I read this Wikipedia summary of the novel did I understand various parts of the film.

Also a warning: Though I am not Italian I have a reasonably good knowledge of the history of Italian Fascism. So I understood the film's historical references. If you lack such a background, I doubt that the basic plot will even be intelligible to you. For such people, a review of Italian history in Wikipedia probably is a good idea.

What I like most about this film is its visual style, owing to great art direction, and great color photography from famed cinematographer Vittorio Storaro. In particular, those huge, empty rooms; those tilted lines; that expansive outdoor platform with the Eiffel Tower in the background; that indoor restaurant with its red-outlined windows are all examples of places in the film that make a profound impression on the eyes. The stunning visuals are helped along by a galloping score, and by terrific 1930's music, especially the song "Whose Happier Than I?"

By contrast, I found the film's story to be less interesting. Marcello Clerici (Jean-Louis Trintignant) is a weak-willed man who feels different from others, in part because of an unfortunate childhood experience. His aim therefore is to be like everyone else, or at least to convey publicly an "impression of normalcy". Toward that objective, he becomes a fascist, a popular political brand in 1930's Italy. He journeys to Paris, where most of the story is set. The film's theme is very political, and wonderfully anti-fascist.

While the film's underlying concept is intriguing, the plot is dense and convoluted. It is helped not at all by jarring editing, and by a screenplay structure that relies too much on flashbacks. Further, most of the characters are not very likable. Marcello himself is both dull and too passive. His love interest is Giulia, a shallow, giggly young woman I found annoying. I did like the reference to Plato's Cave, a metaphor that directly relates to Marcello's predicament.

As a result of the cinematography and the cold weather, the tone of the film is generally bleak and dreary, consistent with the mindset of the film's protagonist. This is not a movie to watch when wanting to feel cheery or upbeat.

Because "The Conformist" is set in a bygone era, the story may not appeal to some viewers. However, its valid historical perspective adds depth to our understanding of twentieth century European politics. And with its great cinematography, art design, period piece costumes and background music, the film is worth at least a one-time viewing.