User Score
7.6

Generally favorable reviews- based on 46 Ratings

User score distribution:
  1. Positive: 39 out of 46
  2. Negative: 6 out of 46

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  1. Jan 10, 2011
    0
    Quite honestly one of the most boring and pointless films you will ever see. You will hate ever minute of it's pointless meandering plot. This is a movie that critics and film academics have to enjoy to be allowed to attend each other's wine parties.
  2. Sep 4, 2012
    7
    The rating this movie deserves would depend on what year it is. Back when this came out, it would have been relevant to Europe's still fresh scars from WW2. I'm in generation Y, and although this film makes a good historical and cultural demonstration, it is tailored for my parents, not me. It's something I have to "try to get", not something I can just watch and know immediately the points the movie is trying to convey. In other words, it's a movie I have to learn how to watch while I'm watching it, which was nice mental stimulation, but ultimately less entertaining and something my memory won't encode fondly, despite it's strengths. I hope this who know their 20th century European history and culture won't think I am being ungrateful, and I understand this movie should have higher appeal to those who do.

    I must say though, I very much enjoyed the buildings in this movie.
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  3. Aug 9, 2012
    6
    Good acting performance and cast. The movie sets and the production are also striking. And that's it... Only visual stuff. In my opinion, the movie is overrated, perhaps, because of the stigma post-fascism and post-Nazi, still felt in the 70's. By this I mean that a film like this, which casts a harsh critique of fascism, would be easily remarkable at a time when in Europe there were still "scars" of World War II. The message is, nonetheless, very interesting and important to impart. But I do not think this movie deserves the same score of Lawrence of Arabia and The Godfather ... Overrated my friends... Expand
  4. Nov 7, 2013
    9
    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!
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Metascore
100

Universal acclaim - based on 11 Critics

Critic score distribution:
  1. Positive: 11 out of 11
  2. Mixed: 0 out of 11
  3. Negative: 0 out of 11
  1. 100
    Thirty-five years since its debut, The Conformist is still a stunning, challenging, transporting film.
  2. One of the great Bertolucci's most acclaimed films...Trintignant gives a legendary performance.
  3. The Conformist has a decadent visual beauty about it that's breathtaking. But as striking as Bertolucci's classic looks, there's even more powerful stuff in the storytelling.