MONDAY, DECEMBER 9, 2013 *** THE CONFORMIST *** directed by BERNARDO BERTOLUCCI with JEAN-LOUIS TRINTIGNANT, DOMINIQUE SANDA

While presenting this story, Bertolucci undertakes nothing less than a visual history of the cinema, employing every style from the earliest days of silent film onward. As the plot advances, the cinematic style grows increasingly modern. Alienation, sexual confusion, Oedipal rage, incredible risks taken to slake momentary lust, betrayal, nice clothes, and lovely interiors:  classic Bertolucci themes, fully explored here for the first time.  Il Conformista remains one of the most beautiful films and certainly Bertolucci’s most coherent work, an accomplishment of genius. It’s never tedious, pretentious, or overly arty. It can be disturbing as hell.

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One response to “MONDAY, DECEMBER 9, 2013 *** THE CONFORMIST *** directed by BERNARDO BERTOLUCCI with JEAN-LOUIS TRINTIGNANT, DOMINIQUE SANDA

  1. Bertolucci’s film =”the conformist” it’s an incandescent work of art that remains absolutely modern through out the ages with a superb story by alberto moravia, beautifully adapted to the screen by bertolucci and masterfully photographed by vittorio storaro who manages to displays the whole gamut of light, shadows, suggested coloring and impossible to imagine larger-than-life architecture and nature…
    the acting is impeccable, at times naturalistic, bizarre, surreal, theatrical and funny>>including a serious, dour Jean-LouisTrintignant playing the least sympathetic character of his long acting career…There are additional little gems like the heroin addicted mother, the-NOT-so-crazy poet/philosopher father and Pierre Clementi doing his bizarre turn as Lino the depraved chauffeur and the then very unknown=gastone moschin playing the fascist henchman Manganiello…
    Special kudos to the beautiful stefania sandrelli who dared to play-to-the-hilt the irredeemable silly brunette wife giulia and the ambivalent-erotic-ice-goddess=dominique sanda in her final scene crying in a naked face close-up seen thru the car window on the final terrifying confrontation with an indifferent, emotionless, Marcello/Trintignant = before she starts running with the fascist gunmen in pursuit -in a memorable and horryfing chase up-hill through the forest- in a hand-held camera heroic travelling by director of photography giant: vittorio storaro…

    this is my fourth viewing of this film and it gets better every time…

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