THE CONFORMIST
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (0 to 10): 8.1
Date Released: 1970 Running Length: 1:54 Rated: R (Sex, nudity, violence)
Starring: Jean-Louis Trintignant, Stefania Sandrelli, Dominique Sanda, Enzo Tarascio, Gastone Moschin Director: Bernardo Bertolucci Producer: Maurizio Lodi-Fe Screenplay: Bernardo Bertolucci Cinematography: Vittorio Storaro Music: Georges Delerue Released by Paramount Pictures In Italian (and French) with subtitles
Until this re-release of THE CONFORMIST, those wanting to see (or re-see) Bernardo Bertolucci's underrated 1970 film had to make due with an inferior video copy that boasts watery visuals and atrocious dubbing. However, under the supervision of cinematographer Vittorio Storaro, this new, restored version of THE CONFORMIST has been pieced together which includes four minutes of footage excised from the original. Put into extremely limited release by Paramount Pictures, this gives movie-lovers an opportunity to view one of the director's pre-LAST TANGO IN PARIS pictures in the way it was originally intended to be seen.
The non-linear manner in which THE CONFORMIST is presented makes RESERVOIR DOGS' twisty narrative seem straightforward by comparison. It's entirely possible that some viewers will still be confused two-thirds of the way through the running length. Regardless of how much (or how little) you understand, however, it's important to pay careful attention. Before the closing credits, all--or at least enough--will be made clear.
Often, restored 1960s and 1970s films appear outdated when shown to today's audiences (MIDNIGHT COWBOY, while still a potent film, falls into that category). However, this is definitely not true of Bertolucci's picture. Those not knowing the production date might easily mistake this for a product of '90s cinema. Part of the reason is that THE CONFORMIST is set in the 1930s and 40s, but the care that Bertolucci and Storaro put into the look of the production defies dating.
Marcello Clerici (Jean-Louis Trintignant) is an ambitious professor in 1938 Italy. As Mussolini comes into power, Clerici lets it be known that he is a fascist, and soon a blind friend has gotten him an assignment with the secret police. After marrying Giulia (Stefania Sandrelli), Clerici takes a honeymoon in Paris where he is given an assignment--assassinate one of his old university teachers, Professor Quadri (Enzo Tarascio), who is now the head of an anti-fascist resistance group.
Once in Paris, however, Clerici is assailed by doubts. Memories of a childhood incident with a gun haunt him, and he doesn't know if he'll be able to pull the trigger. He becomes sexually obsessed with Quadri's young wife Anna (Dominique Sanda) even as she lusts after Giulia. All- the-while, Clerici's co-conspirator (Gastone Moschin) eggs him on.
Throughout the film, all Clerici really wants to do is live a life of normality. He gets married because that's the expected thing. He joins the fascist party because that's the best way to conform. Only in the final scene are the depths of his desperation revealed in a passionate and telling manner.
Storaro and Bertolucci have fashioned a visual masterpiece in THE CONFORMIST, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art--powerful, beautiful, and effective. There's a scene in the woods, with sunlight streaming between trees, that's breathtaking to behold--and all the more stunning because of the brutal events that take place before this background.
THE CONFORMIST is a fine blend of drama and suspense that boasts several strong performances. The real reason to see this film, however, is to absorb Storaro's technique, that of a true master at work. Whether in a theater or on video, this cleaned-up version is worth a look.
- James Berardinelli (blake7@cc.bellcore.com)
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