Athos Magnani, a young researcher, returns to Tara, where his father was killed before his birth, at the request of Draifa. The father, also named Athos Magnani and looking exactly like the... See full summary »
Set in Italy, the film follows the lives and interactions of two boys/men, one born a bastard of peasant stock (Depardieu), the other born to a land owner (de Niro). The drama spans from ... See full summary »
Robert De Niro,
Near the Tiber river, in a Roman park, a prostitute was killed. The police tracks down people that were inside the park during that night. They are questioned and have to explain why they ... See full summary »
Giancarlo De Rosa,
Bernardo Bertolucci, along with co-scenarist Gianni Amico, used Dostoievski's 1846, pre-imprisonment novella The Double: A Petersburg Poem, which they moved to Italy and updated to the pro-Vietcong student-protest present,
When an African dictator jails her husband, Shandurai goes into exile in Italy, studying medicine and keeping house for Mr. Kinsky, an eccentric English pianist and composer. She lives in ... See full summary »
The study of a youth on the edge of adulthood and his aunt, ten years older. Fabrizio is passionate, idealistic, influenced by Cesare, a teacher and Marxist, engaged to the lovely but ... See full summary »
The American artist couple Port and Kit Moresby travel aimlessly through Africa, searching for new experiences that could give sense to their relationship. But the flight to distant regions only leads both deeper into despair.
The son of the owner of a large Italian cheese factory is kidnapped, but as the factory is on the verge of bankruptcy the owner hatches a plan to use the ransom money as reinvestment in the... See full summary »
This story opens in 1938 in Rome, where Marcello has just taken a job working for Mussollini and is courting a beautiful young woman who will make him even more of a conformist. Marcello is going to Paris on his honeymoon and his bosses have an assignment for him there. Look up an old professor who fled Italy when the fascists came into power. At the border of Italy and France, where Marcello and his bride have to change trains, his bosses give him a gun with a silencer. In a flashback to 1917, we learn why sex and violence are linked in Marcello's mind. Written by
Dale O'Connor <email@example.com>
Italian censorship visa # 56307 delivered on 19-6-1970. See more »
When Manganiello is driving Marcello around, the windshield wipers are on in the close shots, but off on the long shots. See more »
[disgusted by Marcello's inability to act and leaving their car]
How disgusting! I've always said so. Make me work in the shit - sure, but not with a coward! It's up to me! Cowards, homosexuals, Jews - they're all the same thing! If it were up to me, I'd stand them all against a wall!
[he blows on his fingers in the stinging cold]
Better yet - eliminate them when they're born!
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Visually stunning, otherwise clumsy with some nasty politics.
I literally signed up because, on first watching this film, I was shocked by the apparent reverence in which it is held. Yes, it is certainly a visually stunning film -one of the most beautiful films I have seen in some time in fact. However there seems little else to recommend it. The main character is a "conformist". How do we know this? Well, because he literally TELLS US in the first couple of minutes. He certainly does not act like it ...and this is pretty much what you can expect for all of the themes explored in the film -every unconvincing and unsubtle point will be rammed home ham-handedly. Certainly there is no convincing portrayal of the anxiety which drives the desire to conform, and the relationship between this anxiety and fascism -something which would have been a very worthy subject matter. On the contrary the protagonists behavior is on the contrary quite odd rather than conformist. A real missed opportunity here. Characterization, in so far as it exists, is crude and didactic (this goes for all characters, not just the protagonist). There are a number of weird themes, visual sequences and actions by characters throughout, which I can only assume is a crude attempt to qualify the film as "arty", as well as some utterly comical pseudo-intellectualism (bringing to mind something like "first year philosophy students at lunch in the quad"). I could go on in some detail, but hey, in the present case what's the point???
The film concludes with a rather nasty apologist message, the apparent "moral" of the film, equating fascism and anti-fascism as two sides of the same coin. This message is hammered home repeatedly and crudely in the final minutes so as to make sure we don't miss the point. Firstly, I got it the first time -the final scene (where the protagonist denounces two guys as fascists) was both unnecessary and awkwardly unsubtle. Secondly, I just don't buy it -fascism and anti-fascism are just not the same thing. All in all "Il Conformista" left a very bad taste in my mouth.
I'm not a liberal-arts type guy, and I know very little about Italian history, so maybe it's me that's just to dumb to "get it"? I don't think so, but I figure even if this was the case that would clearly make the film unsuccessful as a piece of communication. I reckon turn the subtitles off (or mute it if you speak Italian) and you could maybe just enjoy the visual spectacle .
5/10 with the subtitles off.
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