Films that double as if they are art on a canvas are some of the richest and most beautiful things that can come out of cinema, Il Conformista or The Conformist in English is exactly that. It not only has a very good story but in general looks stunning, the film is known for its camera angles but also its use of colour and the general production design that also catches the eye. From Italian director Bernardo Bertolucci comes this excellent piece and it is essential for any budding director or cinematographer that they witness the skill level put into this. The film is basically all about Fascism and shows a man sent on a mission to take out a former professor of his who is too anti-fascist for the regime of Italy in the 1930's. The film sounds much like a spy thriller and although in ways he is a spy, this is not all about exciting action, no this is dramatic and thrilling but does not require shootouts to entertain, it uses artistry, a solid script and characters who could be studied for many an hour.
Marcello Clerici is the main person in this movie and is just as Fascist as your next Fascist, this man is willing to give things up to carry out the mission set out for him and important things that come his way in life do not stand a chance against his belief in normality and Fascism. The most intriguing character is for me not Clerici but the professor's wife Anna who is shrouded in mystery, we never truly know much about her but the way she is used in the story is fascinating. It uses many different people to get the story across whether within his friend, his Fascist overseer of sorts or his soon to be wife Giulia and that is really what makes this complex.
It is impossible not to talk about the way this movie looks after you have seen it with Bertolucci and cinematographer Vittorio Storaro creating something truly remarkable and although this could easily be called pointless angles, they actually do convey emotion or set the tone of the scene that is at hand. This film could be also get called pretentious but really it is not, many a film can use artistic elements in a way which is begging for awards but this feels different though. It actually tells a story alongside the beauty on the technical side of things and Bertolucci makes full use of that to create an interesting but also good looking piece of cinema.
As for the actors well it is of course Jean-Louis Trintignant as Clerici who is fantastic among all involved but do not take anything away from other cast. Stefania Sandrelli as Giulia is good and although at first can feel annoying starts to grow on you as the movie progresses and becomes a well worked character. I particularly liked the character of Manganiello played by Gastone Moschin who as the overseer I mentioned is just a great character and one that usually turns up in some major scenes of the film.
So The Conformist, adapted from the 1951 novel of the same name and given an artistically wonderful showing on the big screen, having never read the novel at the time of viewing I cannot say whether it is a true adaption but it does not matter to me if a book is made a little differently on the big screen. Bertolucci nailed this one and this could be said to be his best ever work, what stops it from being perfect is maybe some parts of the beginning and it can have a slow pace at a few places but nevertheless this movie is excellent and one that is just a fine piece, finely done.
Marcello Clerici is the main person in this movie and is just as Fascist as your next Fascist, this man is willing to give things up to carry out the mission set out for him and important things that come his way in life do not stand a chance against his belief in normality and Fascism. The most intriguing character is for me not Clerici but the professor's wife Anna who is shrouded in mystery, we never truly know much about her but the way she is used in the story is fascinating. It uses many different people to get the story across whether within his friend, his Fascist overseer of sorts or his soon to be wife Giulia and that is really what makes this complex.
It is impossible not to talk about the way this movie looks after you have seen it with Bertolucci and cinematographer Vittorio Storaro creating something truly remarkable and although this could easily be called pointless angles, they actually do convey emotion or set the tone of the scene that is at hand. This film could be also get called pretentious but really it is not, many a film can use artistic elements in a way which is begging for awards but this feels different though. It actually tells a story alongside the beauty on the technical side of things and Bertolucci makes full use of that to create an interesting but also good looking piece of cinema.
As for the actors well it is of course Jean-Louis Trintignant as Clerici who is fantastic among all involved but do not take anything away from other cast. Stefania Sandrelli as Giulia is good and although at first can feel annoying starts to grow on you as the movie progresses and becomes a well worked character. I particularly liked the character of Manganiello played by Gastone Moschin who as the overseer I mentioned is just a great character and one that usually turns up in some major scenes of the film.
So The Conformist, adapted from the 1951 novel of the same name and given an artistically wonderful showing on the big screen, having never read the novel at the time of viewing I cannot say whether it is a true adaption but it does not matter to me if a book is made a little differently on the big screen. Bertolucci nailed this one and this could be said to be his best ever work, what stops it from being perfect is maybe some parts of the beginning and it can have a slow pace at a few places but nevertheless this movie is excellent and one that is just a fine piece, finely done.