O Conformista

A weak-willed Italian man (Jean-Louis Trintignant) becomes a fascist flunky who goes abroad to arrange the assassination of his old teacher (Enzo Tarascio), now a political dissident.

The film is said to be a case study in the psychology of fascism: Marcello Clerici is a bureaucrat dehumanized by a dysfunctional upper class family and a childhood sexual trauma. Political philosopher Takis Fotopoulos calls the film "a beautiful portrait of this psychological need to conform and be 'normal' at the social level, in general, and the political level, in particular."

I loved it. I think it was very symbolic of not just fascism, but politics and humanity in general. There really is a desire to conform, and normality varies based on when and where you live. Political ideas might seem weird in one place and not another. The same with morality. Could a society exist where the removal of your friends is just a part of life? Sure. (The Mafia does it.)

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.

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.

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.

This is one of few films in which every artist's performance peaks and falls into place: Trintignant (Z (1969), le Secret (1974)) at his best, Bertolucci's best picture so far, and Vittorio Storaro's best cinematography (besides Apocalypse Now). Their cooperation seems to pay off very well (Novecento (1976), Last Emperor (1987)) as they apparently enhance each other's work. With their brilliance they almost turn Marcello into a hero, while he is actually an anti-hero in this non-linear story. It's not only an entertaining personal tragedy, it's also a political thriller with very distinctive music. I couldn't imagine life without Il Conformista anymore (like Amarcord and some other masterpieces).

Always beautiful, never sentimental: poetic from minute to minute. The compositions, lighting and camera-movements made me breathless: I've never seen so much poetic power in one film. Watch for instance the camera's movement to behind the tree when Manganiello searches for Marcello in the small park @ 68 min. And for instance the hand-held scene near the end. Or the camera placements when Marcello comes approaches his mother's house. Actually the entire film is a big poem. See for yourself :-)

I was lucky enough to see this one in a theater just two months after seeing it first (dec 2000). If you have the chance, go see it on a big screen. If you like the looks of this you will probably like 'Una giornata particolare' (1977) and 'Amarcord' (1974) too.

Why o why can't we vote 11 :(