InRO Weekly — Volume 1, Issue 1

Adapted from Alberto Moravia's 1951 novel of the same name, the film is, in essence, a character study of an easily persuadable yet
deeply conflicted and profoundly disaffected also-ran named Marcello Clerici (played with remarkable complexity by Jean-Louis
Trintignant). After a childhood marred by neglect, dysfunction, and a traumatic episode of sexual abuse, Marcello yearns for a "normal"
life in an Italy that has fallen to fascism. His beliefs may not run deep, but his commitment does, and he goes through the motions of
assimilating into fascist society — impassive church confessions where he comes clean about all manner of sin, an unenthusiastic
marriage to a petit bourgeois putz, conscientious service for the fascist secret police — before being sent to Paris to assassinate his
exiled former professor, Luca Quadri (Enzo Tarascio). Since fleeing Italy, Quadri has partaken in anti-fascist activities, and the Italian
authorities believe they need to make an example of him. True to form, Marcello decides to take his wife along so he can get his
honeymoon over with as well, but once they arrive, he soon begins an affair with Quadri's young wife, Anna (Dominique Sanda), who,
upon learning of his motives, openly criticizes his allegiance to fascism, begging him not to hurt her and her husband.
Sitting in a car on his way to finally finish the job for which he was sent to France, Marcello ponders his life and the circumstances
that put him where he is. Bertolucci presents these memories with a subtle, dreamlike haziness that is emphasized by fluid camera
movements and a vibrant, high-contrast color scheme. Even though its visuals have earned particular praise, The Conformist
functions as a kind of Gesamtkunstwerk: image, sound, editing, script, and performance all combine into something transcendently
cinematic. Shot by legendary cinematographer Vittorio Storaro, the film frames its characters against the cold, imposing architectural
Rationalism popular under Mussolini's rule — in particular, the marble-benched asylum which houses Marcello's
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