How do we understand faith and prayer, and what of miracles? August 1925 on a Danish farm. Patriarch Borgen has three sons: Mikkel, a good-hearted agnostic whose wife Inger is pregnant, ... See full summary »
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
Paul Javal is a writer who is hired to make a script for a new movie about Ulysses more commercial, which is to be directed by Fritz Lang and produced by Jeremy Prokosch. But because he let... See full summary »
Sometime in the early years of the century, a boy, Apu, is born to a poor Brahmin family in a village in Bengal. The father, a poet and priest, cannot earn enough to keep his family going. ... See full summary »
"The Silence" is about the emotional distance between two sisters. The younger one is still attractive enough to pick up a lover in a strange city. The older one -- even though she is very ... 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 <firstname.lastname@example.org>
I adore art-house movies, but this one really tested my patience. Throughout the film, I was trying (in vain) to find excuses for the ostentatious cinematography on display--maybe there's some correlation between style and content?
Normally, when utilized by intelligent filmmakers, style becomes a conduit for content--displayed in the films of Ozu or Bresson. Bertolucci, on the other hand, is a pretentious filmmaker, and style is all there is to "The Conformist". The characters are completely detestable, and the incompetent effort at a psychosexual back-story for the protagonist is an utter failure.
It's not the technical marvel many claim to be either--yes, Storraro's camera-work is noteworthy, but consider the atrocious editing that makes this 'story' even more incomprehensible. Just as Marlon Brando's performance proved to be the only redeeming factor in "Last Tango in Paris" (1973)--another Bertolucci film with a flabby script--the cinematography is what keeps the viewer involved.
Apologists will try to draw parallels between sex and politics etc ., but intellectual discourses on this film are completely unwarranted; "The Conformist" is another excuse for Bertolucci to dabble with sexually baseless stories.
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