Bertolucci, 1970
The Conformist is a complex film which is absolutely rife with political, psychological and social subtext, and is about a man who joins the secret police in a feeble attempt to fit into society after something traumatic happened during his youth. It is probing, intelligent and complex; so much so that it’s simply impossible to absorb it all in one viewing. It’s basically an exploration about a man who wants to conform (hence the title) with society, and therefore it is not only a deep, probing character study, but it is a cynical study of society and even of fascism. The plot and underlying subtext –sometimes hidden, sometimes not- is so intricate, that as I said, it is hard to process it all, but it is a fantastic screenplay none the less. Praise should also be given to the excellent performances from the three leads, and to the innovative use of various types of music to fittingly accompany the characters and the scenes.
However, I believe what The Conformist is truly remember for is its cinematography. The film truly is one of the best looking films I’ve ever seen. There is unbelievable use of oblique angles and zooms, and they are used with such restraint that they don’t become a distraction. There are amazing tacking and dolly shots which are free flowing and graceful; playful, yet sometimes haunting. There is an incredible sense of movement throughout the entire film and the camera seems to love dancing around the sets and characters. The outstanding use of light and shadow evokes memories of what the best noir films accomplished, and the contrasting use of colours, primarily red and blue, reminded me of films such as Ran. The framing and shot composition is impeccable, and there is even a startling and shocking use of hand held at the end, something rarely seen in films of its age. The Conformist is quite simply something that has to be seen to be believed, as it is not only an excellent character study, but it is one of the best looking films of all time.
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