One of the most visually ravishing movies ever made, a candy coloured, perfectly composed fantasia about a man who does not even have the nerve or conviction to become a total monster. Trintingnant scuttles around like a malign Chaplin, dwarfed by the Fascist architecture and seduced by the surreal eroticism Sanda represents for him. If this sounds too abstract, a disgustingly brutal murder brings it all home.
In which Bertolucci psychoanalyzes Fascism as cultural self-repression, a reaction of disgust to the joys/horrors of a libertine sexual world. That the film does so with nonstop sensual style is not strictly an act of judgement or a pose of moral "immorality". Rather, it suggests that you couldn't snuff out sensuality even if it were a good idea. Tie that to a political thriller, and you've got a complex masterpiece.
A film about a guy so desperate to fit in and appear normal he joins a facist group is something that is more relevant today than ever. Combined with truly stunning how-did-they-do-that camera work and gorgeous cinematography, this was definitely worth the trek out to the fancy Astor Theatre. Some incredible performances and queer subtext, but I will need another viewing before I make a final decision.
My love for this film, perhaps the most beautiful ever made, is unlimited. As its protagonist travels through his own past, he also moves from Bertolucci's monochromatic caricature of Fascist Italy (straight lines and tilted cameras) to the soft, warm blue and red of pre-WWII Paris, hiding within the shadows of a Platonic cave from his emotional and sexual longings. Intriguing, brilliantly filmed and unforgettable.
This film is about the banality of evil, showing how one man betrays his professor not for conviction, but simply to get along, and perhaps to acquire a sort of conformity to mask a sin of his younger years. At the same time it can be read as an allegory for the nature of Italy’s descent into fascism.
DCP, Cineteca di Bologna's digital restoration, rewatched,re-rating. A bit of personal history: at age 19, this film and Bertolucci were my nec plus ultra-the beginnings of cinephilia can carry indefinable shame-, and this film held a very special place. Now, in spite of some brilliant moments- brilliance is intrinsic to it -, and some good scenes, stand out, above all, a heavy and demonstrative formalism for praise.
57/100 (Yaklaşık 3-4 yıl önce daha küçükken ve kendimi sanat müdavimi sanarken 90 filan vermiştim. Zaten ancak bu filmi kendini kanıtlamaya çalışan insanlar yüksek derecelendirir. Şu an çok pişmanım. Belki 100 kere yazdım bu da 101 olsun. Görüntü yönetimi + güzel bir alt metin her şey demek değildir. Bazen bu durum hiçbir şey demektir. Puanı yüksek diye 2 yıldız... Uzun eleştirimi altta yorum olarak bıraktım.)
An intoxicating experience for sure. I'm wary of calling a film a masterpiece on my first viewing but it's definitely essential to watch. Words couldn't make justice to the pleasure I had seeing it. As a spectator I feel the confidence of a precise vision. Il conformista allows different perspectives to absorb, it's not just beautiful, well-crafted and thought-provoking, it leaves behind a vivid memory.