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A commentary on fascism and beauty alike, Bernardo Bertolucci's The Conformist is acclaimed for its sumptuous visuals and extravagant, artful cinematography. Read critic reviews
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The Conformist videos
The Conformist: Trailer 1
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Movie Info
In Mussolini's Italy, repressed Jean-Louis Trintignant, trying to purge memories of a youthful, homosexual episode -- and murder -- joins the Fascists in a desperate attempt to fit in. As the reluctant Judas motors to his personal Gethsemane (the assassination of his leftist mentor), he flashes back to a dance party for the blind; an insane asylum in a stadium; and wife Stefania Sandrelli and lover Dominique Sanda dancing the tango in a working class hall. But those are only a few of this political thriller's anthology pieces, others including Trintignant's honeymoon coupling with Sandrelli in a train compartment as the sun sets outside their window; a bimbo lolling on the desk of a fascist functionary, glimpsed in the recesses of his cavernous office; a murder victim's hands leaving bloody streaks on a limousine parked in a wintry forest.
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Rating: R
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Genre: Drama
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Original Language: Italian
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Director: Bernardo Bertolucci
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Producer: Maurizio Lodi-Fè
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Writer: Bernardo Bertolucci, Alberto Moravia
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Release Date (Theaters): original
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Rerelease Date (Theaters):
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Release Date (Streaming):
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Box Office (Gross USA): $179.7K
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Runtime:
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Distributor: Paramount Pictures
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Production Co: Mars Film, Maran Film, Marianne Productions
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Sound Mix: Mono
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Aspect Ratio: Flat (1.85:1)
Cast & Crew
News & Interviews for The Conformist
Critic Reviews for The Conformist
Audience Reviews for The Conformist
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Shot and edited brilliantly, Bertolucci crafted the perfect narrative about how totalitarian regimes are powered both by a small group of committed ideologues and by a large number of people performing as committed ideologues.
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The Conformist is a film that has stuck with me since my initial viewing a few days ago, perhaps it deserves half a star higher. The slow style draws similarity to Melville's assassin film Le Samourai. Trintignant puts up a solid performance as the assassin (Marcello), but my issue with the character was he felt to smooth to be a universal conformist. Marcello feels like a charming individual, just not another man in the crowd. The film does reveal what it means with labeling Marcello as a conformist with the climax, which follows his fascist conformity. The second theme, sex, is also addressed in the end which I feel is the most important scene in the whole film. The last scene is chilling and revealing, crucial to the film.
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Visually great, but really tough to sit through.
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Started off very well, very stylized and compelling. The complex narrative is quite pleasurable to watch, however, by the end there is something lacking. I think the film gets weighed down by the character of Giula because she isn't as interesting as Marcello himself. The camera work and mis en scene are breathtaking. The relationship between him and Italo is very interesting as well till the very end. The ending though when Lino is discovered alive and we see Marcello turn on Italo and proclaim them both as fascists is troubling because we don't see the change that brings Marcello to that point. I felt in those kinds of instances that the film sacrificed psychology for style.
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