Politics and lust

Emma 2022-03-22 09:02:29

Where did you find so many modernist buildings, it brought out the oppression of space, especially in the first building and the madhouse. There was a scene where the camera was tilted on the road, and it was very tense. Not to mention the two scenes in the home space, one used blinds to explain the relationship between the protagonist, his fiancee and the maid. The camera moves smoothly and explains the dynamics between the characters. It's back to this scene near the end of the movie. All in all, the cinematography is pretty good. Not to mention the use of filters and so on.
Rewatching the movie, I feel that the passion between the protagonist and Anna is a little weak, and it's too long, too much, for Anna to run in the woods and get killed at the end. On the contrary, I think the first half is more interesting, there are personal reflections during the occupation period, and the complexity of human nature working under the fascist system. And precious also describes a very personal narrative under fascism. The scene where the protagonist goes to pray in particular can reflect his uniqueness, or inner struggle and contradiction, and at the same time satirize the emptiness of middle-class life. The role of the blind man is obviously the mirror image of the protagonist, which has been explained in the beginning of the recording studio scene.
Putting politics and lust together gives the film a lot of tension and can also provide another angle of writing history, but I think the ending is too totalizing from the story, especially with the reappearance of the person who abused him as a child, He broke down. The man's reappearance makes us doubt the authenticity of the protagonist's memory, but his collapse attributes too much of his life to his youthful experiences, which is too psychoanalyzing, and weakens other socio-political factors.

View more about The Conformist reviews

Extended Reading

The Conformist quotes

  • Giulia: What was Marcello like as a student?

    Professor Quadri: Serious. Too serious!

    Giulia: But you can't be too serious.

    Professor Quadri: Really serious people are never serious.

  • Anna: [to Marcello] You're only a worm. You revolt me. You're disgusting!