Bertolucci's 'The Conformist' is a masterpiece. It occupies my top 2 movies (alongside 'Andrei Rublev' by Tarkovsky), and I'm sure will remain there forever. It's hard to explain in words what makes this film so great; the cinematography is unbelievable, the way the film simultaneously thrills you, and gets across so many ideas in it's modest running time. The characters, from Trintignant's seductive, yet hateful lead, to the two gorgeous leading ladies, down to 'Milano Calibro 9's Gastone Moschin as the lizard-like assassin, even Pierre Clementi as the child molesting Chauffeur, makes more of an impact in one scene, than most of today's lead actors do in their entire careers. It's a real shame that paramount can't bring themselves to release this film in the UK on DVD, because this film should be shown to everybody on earth, repeatedly...
Another fascinating thing (not mentioned in other reviews here), is the presence of many actors and crew who can be found on many Italian exploitation efforts of the early 70s, most notably Aldo Lado, who is the first AD on this, but also is one of the best directors of the Giallo genre ('Short Night Of The Glass Dolls', 'Who Saw her Die?' etc etc), a front runner with Argento and Martino.

A really beautiful transfer (equal, in fact, to the remastered print recently in cinemas) with Vittorio Storaro's careful colour schemes and striking compositions given the presentation they deserve. Even with postage from the US, this is amazing value and Bertolucci's masterpiece should be on your shelf.

Sweeping statement my title may be but, in this cineaste's humble opinion, The Conformist is indeed one of cinema's most impressive and accomplished achievements.

Bertolucci has always been a hit-or-miss director for me. His first film, La Commare Secca, did not impress me. His next, Prima della Revoluzione, is a wonderful film. This is the guy who managed to make The Last Emperor but also made Little Buddha. He was also responsible for The Sheltering Sky and Last Tango in Paris so, for my money, the pros outweigh the cons. The Conformist, for me, is his masterpiece.

The story involves a man who works for the Fascist police in 1940's Italy, not because he believes in the cause but because he wants to create "the image of normality". From this simple idea, Bertolucci and Alberto Moravia (whose novel was the basis for the script) weave a masterful psychodrama about mankind's inability to think for himself.

Vittorio Storraro's cinematography is nothing short of breathtaking in terms of its capacity to mirror the protagonist's mindstate, and Jean Louis Trintignant is a miracle in the title role.

Cinematically, sociologically and politically, this is one of the most important films ever made. It is also a journey of personal discovery that is far from easy, but is possibly the most rewarding cinematic experience I have ever been lucky enough to have.

I waited for years for a DVD to be released and was ecstatic when this issue hit the shelves. Despite claiming to be an extended cut, this release is in fact the film as Bertolucci made it. One scene was cut for the original American release but has been reinstated for this DVD.

Cited by the great Andrei Tarkovsky as a masterpiece of political cinema (though he was considerably less complimentary about Bertolucci's next film, Last Tango in Paris), this is an invaluable piece of art which deserves to be seen by anyone and everyone with the capacity to fully embrace it.

So desperate is Marcello (Jean-Louis Trintignant who also starred as a hit-man in "The Outside Man") to lead a normal life after he suffers through the psychological trauma of a sexual confrontation with the family chauffeur (played by the bizarre Pierre Clementi) when he was a child. As an adult he eventually succumbs to the political upheavals of Hitler's Nazi machine during the 1930's and conforms to Prime Minister Mussolini's fascist regime of Italy. Working as an agent for the government he's assigned a mission to assassinate a college professor in Paris France whom Mussolini believes to be a threat to the fascist party. The murder is to take place while he's honeymooning with his newly wedded wife played to perfection by the lovely and charming Stefania Sandrelli (who starred in the contoversial film "Desideria" and Bertolucci's "Partner"), who also manages to steal every scene she's in.

While ploting the assassination in Paris he encounters a problem by falling in love with the professor's wife (Dominque Sanda, who also starred in Bertolucci's "1900"). Matters are further complicated not only by his attraction to the professor's wife, but his marriage as well as his (manufactured) loyalty to the fascist regime. The eventual ending indicates what the title is and what he's always been throughout his life. Lavishly shot by the brilliant Vittorio Storaro (Apocalypse Now & Last Tango In Paris), this is considered Bernardo (The Spider's Stratagem & The Last Emporer) Bertolucci's "breakthrough" film and perhaps his greatest acheivement in cinema as he was also nominated for an Oscar for his screenplay. This mesmerizing look at the social values of World War II Italy is not to be missed and remains one of the all-time great films of the 70's.

olofpalme63