Highly stylized and visually stunning, as others have commented. Narrative structure and story generally could have been tighter.

Never has anything explained fascism as well as the Conformist. The assassination scene is quietly horrifying.

The Conformist is flat out amazing. It is absolutely beautiful to look at, and the performance by Jean-Louis Trintignant is one of the greatest performances I have ever witnessed. Bertolucci wrote a damn good script that keeps its viewers extremely captivated. The plot is extremely well woven, at first it was confusing but slowly gets easier to understand. Everything from the beginning, to the ending shot is so extremely well crafted, it really is impossible to resist.

Disturbing blend of character study and historical context of 1930s. Film's overall mood uniquely tense.

Like many others noted, Vittorio Storaro shot this film with the Eye of God on his head. The film itself is also excellent. It concerns a man on a quest to become normal (with a normal job, normal wife, etc) during the Mussolini regime.

The cinematography is so astoundingly gorgeous that you could watch this without the sound or any understanding of what's happening on screen and still enjoy it.

The lighting, shadows, use of color, and camera movement combine into some of the best visuals I have seen in any movie ever. The sunlight bleeding through the trees in the forest, the leaves blowing around at the mansion, the dance hall scene-there's just so many wonderful images that stick in your mind. The story felt more serviceable than good in its own right, but the portrayal of fascism is interesting and well-done.

Thanks to the team of director Bertolucci and cinematographer Storaro this is simply one of the most beautiful movies ever filmed.

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

Upon my first viewing of this movie, I would have scored it far higher, but it seemed after a second viewing to have lost something in my eyes.

Delicate in shape and mysterious in spirit, and still so difficult to fully ingest. A remarkable film, but not as forceful as it immidiately seem, and at times almost uninteresing. A strange, ambiguous and impalpable film.

In the end, style wins over substance. Just when Bertolucci can't stop showcasing his (admittedly considerable) chops as a moviemaker, he'll toss some Plato into the mix to remind you you're watching an Important Film. But are you really?

#62

Psychologically confusing but brilliantly realized recreation of an age.

Despite the amazing photography I can only consider this "great", and not a masterpiece.

Developing film nerds; This one is important, but not the end-all be-all.

The cinematography absolutely lives up to the hype. The rest doesn't.

93.250

Every important aspect of a movie is brought together so well in The Conformist. The acting, particularly by the main character, is fantastic. The final scene, to be exact, is incredible. To say the very least, the film is beautifully shot;' the cinematography is sophisticated to the point of reaching perfection. It's a masterful film in every respect, and it deserves all of the recognition it gets from film fanatics all around. Bertolucci knows how to make 'em right.

DON'T BELIEVE THE HYPE!

All those walnuts!

Deserves all the recognition it gets for the cinematography alone. It might be the most visually satisfying movie ever made, but the complex, tightly-woven story is equally noteworthy. The film certainly holds up well and is still quite modern, but there's a certain recollection of old gangster films about it. Bertolucci's direction is youthful yet expert, and the result is something excessive, intelligent, and beautiful.

Beautiful is an understatement for this camera work and the story is one that improves upon repeat viewings and post-viewing reflection.

# 65

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.

As far as the plot goes, it actually took it a while to sink in before I liked it - on first viewing, I wasn't terribly stricken. What I WAS stricken by is how utterly amazing the cinematography is. Every shot is beautifully calculated, and visually this is just an amazing movie to watch. It helps that Stefania Sandrelli is stunningly beautiful too. After letting it sit a bit, the impact of the story sets in too, and this is far more than just some pretty scenes.

While the political themes and symbolism didn't fascinate me, the visual style certainly did. The film has an adept story that kept me interested, but it was the masterful camera movements, colors, shadows and lighting that blew me away. And the visuals aren't just eye candy, they're a vital component in establishing an emotional connection with the characters and events. The use of skewed camera angles and dramatic lighting can be trite, but here it's like I'm seeing them for the first time.

* Casting, Acting : 8 * Script : 9 * Directing, Aura : 8 * Ease of Viewing : 5 * Naked Eye : 8

As others have mentioned the visual aspect is where the film really shines. The costumes, the makeup, the use of colour, the angles, the camera movement and the framing are all meticulous and complement the content of the film perfectly. The content of the film is really good as well in its strong depiction of conformity and cowardice through character development and contrast, culminating in a powerful ending. The storytelling is a little weak though, especially in contrast with the rest.

Vittorio Storaro is just in a totally different league than all the other color cinematographers. This, and Apocalypse Now, are almost certainly the two best-looking color films I've ever seen, and Storaro is the common link. The use of shadows, color, and light is astounding. The film is excellent in its other aspects as well, but the visuals are what make it a masterwork.

# 58

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.

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

nothing let out.date bell weather.she gets it or you walk away

Bertolucci's camera work is amazing.

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.

Like every other Bertolucci film, it has some stunning imagery, but little else.

A visual pleasure from start to finish. Possibly one of the greatest masterpieces of cinematgraphy.

great cinematography and art direction dragged down by a tedious screenplay