THE CONFORMIST

France/Italy, 1970, 110 minutes, Colour.
Jean- Louis Trintignant, Stefania Sandrelli, Dominique Sanda, Gastone Moschin.
Directed by Bernardo Bertollucci.

The Conformist is a film by the young Italian director, Bernardo Bertollucci whose first major film, Before the Revolution (1964), received much critical acclaim. So did The Conformist, including an Oscar nomination for screenplay.

The Conformist is based on the Alberto Moravia novel. The film version is in the stream of continental political films that would include The Battle of Algiers, Z, and The Confession. Audiences were also reminded of another political reconstruction of the 30's, Visconti's The Damned. Superficially, Bertollucci film resembles that of Visconti most. However, it deals more with an individual moulded by his world, afraid not to conform, happy in finding a place in the fascist state of Italy.

This period is evoked in grandiose Mussolini buildings, columns and emptiness, and in a hot-house amorality of madness, arranged marriages and intrigue and, finally, assassination.

Jean- Louis Trintignant brings his versatile talents to the role of Marcello, the confused, timid and intriguing conformist. Stefania Sandrelli excels as the light-headed wife, Giulia, and Dominique Sanda is mysteriously beautiful and moving as Anna. An excellent and thought provoking film.

1. Why was the film called "The Conformist"?

2. Was the dramatic structure of the film effective - the chase with the flashbacks interspersed, reaching a climax at the finding of the Professor and his wife?

3. What kind of man was Marcello? What was his relationship with his mother (and her decadent way of life), with his father (and the effectiveness of the asylum scenes)?

4. Why was Marcello a fascist? What ambitions did he have? What was the significance of his friendship with his blind friend (and this man's fascist readings over the radio)?

5. How did director Bertollucci create an atmosphere of Italy in the 30's and of the fascist atmosphere -e.g. the huge, monumental but lifeless buildings and the characters filmed from afar, the behaviour of the officials, the comparisons with Germany, the secrecy and self-righteous dedication, even to murder?

6. Why did Marcello want to conform? He said that most men wanted to assert their individuality. He loathed this and wanted to be like the others?

7. Why was he marrying his fiancee? Why did she seem the perfect wife for his proposes? Her close, her manners, her stupidity? Did he love her?

8. What impact did the confessional sequence make on you? Why?

9. How important was the incident with the homosexual chauffeur and Marcello's thinking he had killed him? Had this affected his later life which he said was "normal"? What did he mean by 'normal'? Do you agree?

10. What was Marcello's relationship with the fascist strong man?

11. Why did Marcello accept the Paris mission? Did he believe in it? Did he believe he was doing right? (What comment did his behaviour at Ventimiglia during the trip to Paris make on "his intentions and beliefs?)

12. Why had the professor fled Italy? Was he right in doing so? Why did the Fascists fear him and want him dead?

13. What was the role of Anna in the film? Did Marcello fall in love with her? Why her fascination with Giulia? What was the significance of this?

14. When Marcello set out to chase the Professor and Anna, did he want really to save Anna? Did he change his mind during the chase? Why did he get out of the car?

I5. Did he concur in the Professor’s murder? Why did he refuse to let the terrified Anna into the car? Was self-preservation his main interest? What was the impact of the Professor's death and the chase and shooting of Anna?

16. Did Marcello enjoy his success, which was the result of this mission? What was the significance of seeing Marcello teach his child the "Hail Mary" in later years?

17. Did his wife see through him? Did she despise or admire him?

18. What were his feelings at the downfall of Mussolini and as he walked the streets? Why did he not only repudiate but denounce his blind friend, Italo?

19. What was his reaction at learning that the homosexual chauffeur was still alive and using his same techniques? Why did he denounce him? Why did he accuse him of his own murders?

20. Why was he still a conformist at the end? Had he no principles but self-preservation? What was the significance of the ending?

21. What political stance did the film take and what political comment did it make?