one of the most intellectually insulting movies of all time

pithy review: all style, no substance...... date viewed: may 22, 2010 highlight(s): cinematography. watching two blind men trying to fight one another. the restaurant dance vortex sequence. stefania sandrelli's performance. lowlight(s): virtually everything else........ verdict: not recommended.

Obviously, astonishing to behold visually. The structure works well to build tension and suspense. I'm largely unfamiliar with the politics of the time, which I think would add a great deal to understanding the film.

Although I become a little disinterested in the storyline and characters from time to time, I was always outstanded by the immaculate cinematography; every single frame of this movie is so absolutely composed of undeniable beauty and emotional relevance. This film made me believe in a God .... and his name is Vittorio Storaro.

great cinematography and art direction dragged down by a tedious screenplay

Masterpiece. It's sort of indescribable though, so I don't know what to say. Mostly for film buffs only.

Phenomenal photography and art direction. A gripping story and a devastating critique of fascism too.

good acting, good cinematography, mediocre movie

The amazing cinematography may steal the show, but the story deserves mention too. The main character of The Conformist is Marcello Clerici. It's rare to see a character who is so unsympathetic, through and through. He's a coward, yet he has no scruples. He's a fascist, but only because fascism is the dominant political orientation of his surroundings. He's intelligent, but he has no humanity. There's no moral ambiguity here; you're going to hate the guy by the end. You'll love the film, though.

Probably the most visually stunning film i've seen so far. I usually pay little attention to cinematography, but I was truly amazed by this one. Other aspects were good too, but not quite as outstanding: The story was interesting but a bit lacking, the characters not so intriguing (exept for Dottore, I guess) and the acting carried the movie well, but weren't really memorable

63

Bertolucci's camera work is amazing.

A sumptuous labyrinth of a Machiavellian poem. At times closer to intermedia than filmic convention--with surrealist, esoteric symbolism and eccentric movement. The tricky passage of time warrants multiple viewings, but you won't mind that. You won't mind it one iota.

A wonderful non-linear story, quietly full of substance and fascinating questions about conformity, both political and personal. And the cinematography... oh my god. Storaro was a genius.

Really pretty hollow beneath its hypnotic veneer of excessive visual beauty. Worth a look nonetheless, if only for that great cinematography.

One of Bertolucci's most acclaimed films still lives up to its reputation on its second viewing, taking a very simplistic story, which can be taken as a political analogy of Italy's history or not, and fleshing it out in a wonderfully shot and unconventional work. It's one of the films by Bertolucci where his obsessions - sex, politics, decadence - come together fully and succinctly.

Somewhat nice to look at, but altogether uneven and mildly interesting.

DON'T BELIEVE THE HYPE!

Beautiful, mesmerizing film. The story -- though complex and fantastic -- takes a back seat to the impeccable cinematography (which is truly jaw-dropping and among the best I've ever seen); cliche as it is to say, the camera does indeed serve as the main character in the film. Greatest film from a great director. By the way: Stefania Sandrelli and Dominique Sanda are HOLY SHIT beautiful to the point of constant distraction.

Beautiful, but don't except much from the plot.

#62

93.250

why yes the cinematography is pretty. like, this movie is awesome, but i really can't bring myself to care.

except for storaro lensing it and the trophy wife i was kinda bored

So tightly tuned that every element feels like a natural extension of every other element, the characters seem to be creating the film in which they are contained, speaking with one beautifully rich, complicated voice. Text as psyche, for sure.

italyan sinemasi 50 senesinde neyse, 70 senesinde de ayni. dublaj faciasi, kabiliyet yoksunu-suni-fiyasko oyunculuklar ve herhangi bir duyguyu aktarmaktan aciz yapmacik hissiyat, kara kirli bir lanet gibi cökmüs italyan sinemasinin uzerine. boylesi defolar amerikan, uzakdogu ve diger avrupa ulkeleri sinemasinin 30'lu yillarinda dahi yok. seni sevmiyorum italyan sinemasi.