Fascist states don’t really need that many committed fascists. But they do need ambitious, unscrupulous, and cowardly people.
In Bernardo Bertolucci’s brilliant character study of a man lacking character, we see political murder as an act of a bureaucrat. Jean-Louis Trintignant plays Marcello Clerici as a confused, emotionally cut-off cog in the wheel of Mussolini’s government in the late 1930s.
A civil servant with a "good" record, Marcello yearns for middle class respectability. To that end, he’s preparing to marry the bourgeois Giulia (Stefania Sandrelli), whom he doesn’t really love although he feels some fondness for her. Why shouldn’t he? She’d attractive and can hardly keep her hands off of him.
But their honeymoon provides an ideal tool for the government, which wishes to make a lesson out of Marcello’s old college professor–an anti-fascist activist now living in exile in Paris. Marcello, of course, takes the assignment.
While Trintignant plays Marcello as a nervous man who keeps his cards close to his chest, Sandrelli’s Giulia is an open book. She clearly adores her new husband, and doesn’t object in the slightest when he looks up an old professor. In fact, she becomes bosom pals with the professor’s much younger wife Anna, played by Dominique Sanda as a self-assured sex goddess.
Marcello soon starts ditching his wife to visit this irresistible woman (remember that this is their honeymoon). Anna lets him seduce her, possibly because she understands the danger and wants to control him. But sexually, she’s clearly interested in Giulia, who doesn’t quite understand this other woman’s advances.
But The Conformist isn’t about sex. It’s about a man desperate to fit into society, even if that society is evil.
For a serious political drama, The Conformist is a surprisingly beautiful film. The sets, clothes, and makeup are as glamorous as an old-fashioned MGM musical. Visually, the film is set in an idealized 1930s, even though the story looks coldly at the reality of that horrible decade. This gives the film a sense of people not quite living in the real world. They’re comfortable, but we know they won’t be comfortable for long.
Another curious aspect of this very serious drama: When it’s funny, it’s very funny. Not often, but on rare and brief occasions, it goes completely off the wall. There’s no reasonable way to explain the fascist bureaucrat with a desk covered in walnuts. But bits like this break the tension and never undermine the serious story.
The Conformist makes for great art and great entertainment. It’s sexy, vibrant, and suspenseful–with a story that makes you care not for the protagonist but for the people unfortunate enough to know him.
Inside, you’ll find one disc and a 27-page booklet, containing film credits and multiple short articles.
The first thing that comes up when you play the disc (after the FBI warning) is a logo for Video Cinema Arts Visions. Then the menu comes up.
The setup allows Italian or English audio, with English subtitles on or off. I selected the default: Italian audio, subtitles on.
How It Looks
The great cinematographer Vittorio Storaro shot The Conformist with the intention that it would be shown in dye-transfer Technicolor prints. The beautiful transfer provided by Kino recreates the saturated colors that made those prints special.
This is a film of colorful interiors and cold, snow-and-fog whites (I’ve never seen Paris look so chilly). Storaro captured these visuals magnificently. The Blu-ray does justice to his work.
How It Sounds
The slip cover announces that the audio would be in PCM stereo, which is odd because The Conformist was recorded and released in mono. The Video Cinema Arts Visions logo at the beginning of the movie is indeed in stereo. But once the movie really begins, it’s thankfully all mono.
And that’s uncompressed PCM mono. It sounds just fine.
And the Extras
Not much here. The only significant extra is a 57-minute documentary, In the Shade of the Conformist. It’s interesting when Bertolucci is talking, less so with the voice-of-god narrator. Fortunately, Bertolucci does most of the talking.
The only other supplement shows us two different English-language trailers–one from its original American release, and one from the 2013 restoration. The first one provides a good example of how fading color film can hurt a image.
In short, this is a great transfer of a great film. But the extras are slight.
The Conformist Blu-ray goes on sale November 25. Something to be thankful for just before Thanksgiving.