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Such a frustrating disappointment

Awesome Movie

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

This is an amazing, beautifully made cinema. The movie begins when the protagonist is in a hurry and he is traveling somewhere. As he is in the car, his memories comes. This gives the story of the film. This non-linear pattern of story telling makes the movie more interesting.Rather than political tension prevailing, I was more attracted and haunted by the personal attachments and drama. That was an amazing plot.This movie, according to me gives a lot of lessons on cinema, cinematography and direction. The framing, camera movements, shapes, colors, actors placement, blocking, mise en scène etc are all superb. I enjoyed the movie very well.A must watch. highly recommended. #KiduMovie

Marcello Clerici is in Paris to assassinate his former college professor Luca Quadri on the fascist Italian government's orders. Manganiello is driving him tracking Luca and his wife Anna. The movie has various flashbacks of his life. He is disliked as a child by the other kids. Chauffeur Lino befriends the kid but then makes a sexual advance on him. He take Lino's gun and shoots wildly presumably killing Lino. In another series of flashbacks, he is getting married to Giulia and keeps a lot of his life secret from her. They go to Paris on their honeymoon and befriend the Quadris. After the war, Marcello meets up with Lino once again.The conformist is a nice way to describe the lead character. He is a man with no convictions. He is damaged and weak. It's hard man to care about but still fascinating. The start of the movie does lack clarity. I would like the flashbacks to not switch back and forth so much in the beginning. Director Bernardo Bertolucci has a great eye and this is filmed beautifully. The ending is so powerful. Marcello had been holding back until he finally explodes. In that one instant, the audience glimpses his true self.

A study of how fascism can lead to murder, THE CONFORMIST is a slow-burning art-house flick that's undeniably well made by all involved. This is high brow entertainment indeed: understated, subtle, with plenty of meaning behind the dialogue to appeal to the intellectual crowd. Bertolucci also works hard to make this an atmospheric film, although as with a lot of 'arty' directorial work there's a certain coldness to this, a lack of empathy with the leading characters.Still, there are moments in THE CONFORMIST which are undeniably powerful, not least that powerhouse scene that takes place in the woods. This is one of the most shocking and upsetting sequences I've watched in a while, and it makes that slow burn all the more worthwhile. The cast give faultless performances and the technical values are proficient, but at times this is a film that seems to be slow just for the sake of it, more of an exercise in patience testing than anything else.

Bertolucci is another wunderkind in the industry, at the age of 30, his fourth feature film, THE CONFORMIST has been proved to be a timeless classic, which I feel privileged to watch it now for the very first time.Tilting camera angle, impeccable shots paralleling the moving train and zooming in from the external side of the window, sensual hues, cubistic buildings, punctilious light and shade deployment (Professor Quadri, the hunchbacked man being introduced by his silhouette), fluid ballroom dancing sequences, the bleak and cold-hearted manslaughter in a wintry woodland, all emerge as consecutive surprises and gustos along its non-linear narrative. Marcello (Trintignant), a newly-recruited fascist member in Rome, is assigned for an assassination of his old professor Quadri (Tarascio), who dwells in Paris now with her young wife Anna (Sanda), the film hops back and forth episodically in recounting the newly-wed Marcello's matrimony life with Giulia (Sandrelli), a petit bourgeois trophy wife; their honeymoon to Paris with a clandestine aim to carry out the task until Marcello compellingly falls for Anna; meanwhile Bertolucci allocates episodes to sort out Marcello's personal lives, his attachment with his amicable blind friend Italo (Quaglio), his drug-addicted mother (Milly) and lunatic father (Addobbati); but underneath his placid and gentile veneer, lies an unfading quandary, stems from his encounter with a pedophile (Clémenti) in his childhood and his latent homosexuality which pulses him to a perpetual and professed seeking of normalcy. Trintignant is exceedingly under-appreciated in his sophisticated and self-constrained portrayal of a man put in contradiction with almost anything around him, perfectly tallies with the political message of the film, a stooge, put-upon in order to rectify his own weakness, indiscriminately clutches any straw to obey conformability, while in the end, a sense of loss and disparagement is his own bitter fruit. Sanda and Sandrelli are stunning in their own distinctive beauties, the former is resolute, swinging both ways and emanating the like-a-moth-to-a-flame fatalism; the latter imbues a more traditional feminine allure with little clue about what's in her husband's mind. Also it is noteworthy to give credit to Georges Delerue, who produced a spellbound score underlining the varying tenors of Marcello's state of mind. THE CONFORMIST is a pièce de résistancer with its idiosyncratic aesthetic charisma to crown Bertolucci as the most important auteur in Italian cinema after his illustrious progenitors!