Il conformista

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 So I understood the film's historical references.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.

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+

Bertolucci's "Conformist" must not be missed if it shows up at your local art/independent movie theater.

Indispensable for its photography and visual style alone -- credit legendary DP Vittorio Storaro, best known for his work on The Godfather films and Apocalypse Now -- the film delivers with a ferocious punch on a remarkable number of levels.

Dense and often difficult, yet leavened with unexpectedly beautiful and humorous touches, "The Conformist" functions primarily as an indictment of Fascism and its adherents. But deeper threads run deeply through the picture; it is an examination of one man's attitudes towards the value of patriotism, love, family, marriage, sex and death, and, as has perhaps been overstated (by both the critics and perhaps the film-maker) it also explores the ramifications of homosexual repression.

Bertolucci expertly manages to weave these themes into a hypnotic, occasionally surreal experience that has served as an inspiration for countless directors.

Performances are brilliant throughout. Dominique Sanda is one of the most engaging and sensual women to ever grace the screen.

See this film, and you will simply wish to see it again.

To be everything is nothing. To go against what you cherish the most is the symbolic gesture of weakness. The brilliant story telling of the young and passionate Bernardo Bertolucci remains as vivid and powerful as the first time I saw it - 15 years ago, when I was 21 - The film is 41 years old now and I can only imagine the effect it had in its day. For me, it became a point of reference and to see it again is a shattering scramble of emotions. Jean Louis Trintignat is extraordinary and Stefania Sandrelli is superb as the mediocre, petite bourgeois wife. The art direction by Ferdinando Scarfiotti and the photography by Vittorio Storaro are, quite simply, without equal. I was very moved by the appearance of Pierre Clemeti as the ambiguous Lino. A film to visit and re-visit.