GarnettTeenage The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

CrawlerChunky In truth, there is barely enough story here to make a film.

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Jugu Abraham If you have not had the chance to read Alberto Moravia's book of the same name, the Bertollucci adaptation would seem to be a magnificent work. If you have read the book, the film will appear pedestrian.Notwithstanding Storraro's cinematography and the delightful performances of the lead players, the film misses out on the all important prologue and epilogue of the book. The views on religion are arguably more of Bertollucci than of Moravia. What is left is an action oriented slice of the book, ignoring the psychology and sociology offered by Moravia.I am convinced the importance given to the film is misplaced by viewers who have never bothered to read the book and compare the two works.

vwild The Conformist is very stylish in the way that fashion advertising or New Romantic music videos are stylish. It's self-consciously stylish. Dominique Sanda walks along a corridor and strikes a scornful pose in the doorway of a room like someone parading on the catwalk. Jean-Louis Trintignant walks along the pavement in front of an art deco building as the camera tracks with him in a wintry twilight. At the corner he stops, turns, gestures. A vintage car rolls up. So chic. The acting is stylish. It has that operatic largeness that we get in Visconti's later films. You can see the actors' performances from the balcony. At first all this attention to style is beguiling. There is a strange scene in an insane asylum filmed in the EUR complex. It looks oppressive and futuristic and dream-like, like a scene from 8 ½, but it becomes apparent that all this attention to style has no meaning. It is style for styles sake. At the end of one scene a shot is stitched on of autumnal leaves blown ominously along. What could it mean? Is it the "Wind of Change"? No, it's just leaves whisked about for visual pleasure. Who are we to scorn visual pleasures you may say, but the problem is that, at its worst, the visual pleasures begin to lead the action. The viewer begins to sense that a beautiful image was visualised and then a scene written to incorporate it. The characters' motivation is apparently to complete compositions or visual effects. Unfortunately for the viewer The Conformist is not content with stylish shallowness and tries to achieve depth or insight with what turns out to be a Freudian kitsch. There is a veritable cesspool of confusing childhood sexual experiences giving rise to bizarre adult behaviours. Fascism itself is some kind of psycho-sexual fantasy. It's all so very chic and depraved. Sadly we don't so much witness character development as a bunch of ids bumping against each other. It makes for tiresome viewing and tells us nothing about the psychology of Fascism or anything else that might give the film purpose. The Conformist looks good, sometimes thrillingly so, but it is weighed down by its rather dated psycho-sexual approach to character. The story suffers worst of all, being completely squeezed out by these other dominant elements.

SnoopyStyle 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.

jackasstrange Flawless masterpiece. A very engaging, weird and entertaining film. The atmosphere, the cinematography(the use of lights and shadows is jaw dropping), everything is freaking great. The cinematography is really fascinating, we can see the baroque inspiration in some shots. Those who love cinema will love this film. Anyway, is a quite unique film,there are few twists(I thought he would risk his life to help the women in the ambush, since he apparently liked her). I've never seen a film where we actually follow(and even root for) a protagonist that is a fascist. And is very interesting from a psychological viewpoint.Anyway, masterpiece.