FILE FILM

THE CONFORMIST
DIRECTION: Bernardo Bertolucci
Drawn from the novel of A.Moravia

English title The conformist
Original title Il conformista
In France: Le conformiste (17.02.71 - 110') - In West Germany: Der Grosse Irrtum (16.04.71 - 111') - In Great Britain: The Conformist (1994 - 113') - In Usa: The Conformist (1971 - 110')
Year 1970
Running time 116'
Nationality Italy
Genre Drama
Production Maris Film
Co-production Maran Film, München (West Germany), Marianne Productions, Paris (France)
Distribution CIC
DIRECTION BERNARDO BERTOLUCCI
Subject drawn from the homonym novel of Alberto Moravia
Screen-play Bernardo Bertolucci
Photography Vittorio Storaro (technicolor)
Customs Fernando Scarfiotti
Scenography Nedo Azzini
Music Georges Delerue
Editing Franco Arcalli
 CAST

Jean-Luis Trintignant Marcello Clerici
Stefania Sandrelli Giulia
Dominique Sanda Anna Quadri
Enzo Tarascio the teacher Quadri
Pierre Clementi Lino Seminara
Gastone Moschin Manganiello
José Quaglio Italo
Milly Marcello's mother
Giuseppe Addobbati Marcello's father
Yvonne Sanson Giulia's mother
Fosco Giachetti the colonel
Benedetto Benedetti the minister
Christian Alegny Raoul
Gino Vagni Luca
Antonio Maestri
Christian Belegue
Pasquale Fortunato
Marta Lado
Pierangelo Civera
Carlo Gadda
Franco Pellerani
Claudio Cappelli
Umberto Silvestri

PLOT, CRITIQUE and NOTES

Marcello Clerici (Trintignant) axcepts to go to Paris on the behalf of the fascist political police: he has to approach one of the most known antifascist refugees, the teacher Quadri (Tarascio), his old university teacher, and to prepare his assassination. Drawn by the homonym Alberto Moravia’s novel adapted by the same Bertolucci, the film, all centered on the order’s aspiration and on the conformism as compensation of an unavowed and repressed homosexuality, faces in a very personal way the complex knot of relationship between fascism and middle class: Marcello’s ambiguity, his want to kill his own ideal father, the view of mean wonen and ruthless characters that accompany the trip to Paris (recalled with a beautiful nostalgic taste) lead to read in fascism the black part of the middle class, its “sick” temptation, in eternal struggle with the healthy part (here the antifascism). An interpretation that in those times got to the director more than an incomprehension and of which, it is necessary to add, Bertolucci “suffers the enchantment more than he doesn’t seem to analyze it and to dig up it”. First commercial succes of the director. The uncut edition, shown only at the 1970 Berlin festival and restored in 1993, lasts 10’ more. (P. Merghetti “Dizionario dei film1998”, translated by Alice Castoldi)