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The Conformist (1970)

Il conformista (original title)
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A weak-willed Italian man becomes a fascist flunky who goes abroad to arrange the assassination of his old teacher, now a political dissident.

Writers:

Alberto Moravia (novel), Bernardo Bertolucci (screenplay) | 1 more credit »
Nominated for 1 Oscar. Another 10 wins & 7 nominations. See more awards »

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Cast

Cast overview, first billed only:
Jean-Louis Trintignant ... Marcello Clerici (as Jean Louis Trintignant)
Stefania Sandrelli ... Giulia
Gastone Moschin ... Manganiello
Enzo Tarascio Enzo Tarascio ... Professor Quadri
Fosco Giachetti ... Il colonnello
José Quaglio José Quaglio ... Italo
Yvonne Sanson ... Madre di Giulia
Milly Milly ... Madre di Marcello
Antonio Maestri Antonio Maestri ... Confessore
Alessandro Haber Alessandro Haber ... Cieco ubriaco
Luciano Rossi ... Biondo cieco
Massimo Sarchielli ... Cieco
Pierangelo Civera Pierangelo Civera ... Franz
Giuseppe Addobbati Giuseppe Addobbati ... Padre di Marcello
Christian Aligny Christian Aligny ... Raoul (as Cristian Alegny)
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Storyline

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 <daleoc@interaccess.com>

Plot Summary | Add Synopsis

Taglines:

Filmed in the palaces of power... in the streets and secret cells of revolution. See more »

Genres:

Drama

Certificate:

R | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Italy | France | West Germany

Language:

Italian | French | Latin | Chinese

Release Date:

22 October 1970 (USA) See more »

Also Known As:

The Conformist See more »

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Box Office

Budget:

$750,000 (estimated)
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (first release) (international)

Sound Mix:

Mono

Color:

Color (Technicolor)

Aspect Ratio:

1.66 : 1
See full technical specs »
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Did You Know?

Trivia

Ranked #77 on a 2018 BBC critic's poll of the best non-English-language films. See more »

Goofs

When Marcello leaves his hotel to rendezvous with Manganiello, a crew member is reflected in the glass door. See more »

Quotes

[first lines]
Marcello: [to Manganiello on the phone] It's me, yes. Everything all right?
[pause]
Marcello: What do you mean, they're gone? You mean she's gone, too?
[pause]
Marcello: I'll be waiting in front of the hotel.
[hangs up]
See more »

Alternate Versions

The "Dance of the Blind" sequence was restored for the 1994 re-issue of the film. This had been cut for the American release. Contrary to early reports, the DVD released by Paramount does include this scene. See more »

Connections

Referenced in Dream Slashers (2007) See more »

Soundtracks

J'attendrai
(uncredited)
Music by Dino Olivieri
Arranged by Georges Delerue
See more »

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User Reviews

The best cooperation of artists of cinema
17 June 2001 | by rogierrSee all my reviews

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 :(


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