He is humiliated by his schoolmates until he is rescued by Lino, a chauffeur. Lino offers to show him a pistol and then makes sexual advances towards Marcello, which he partially responds to before grabbing the pistol and shooting wildly into the walls and into Lino, then flees from the scene of what he assumes is a murder.
He agrees, and in confession admits to the priest to having committed many sins, including his homosexual experience with Lino, the consequent murder, premarital sex, and his absence of guilt for these sins. Marcello admits he thinks little of his new wife but craves the normality that a traditional marriage with children will bring.
The priest is shocked — apparently more by Marcello's homosexuality than the murder — but quickly absolves Marcello once he hears that he is currently working for the Fascist secret police, called Organization for Vigilance and Repression of Anti-Fascism. Now married, Marcello finds himself ordered to assassinate his old acquaintance and teacher, Professor Quadri, an outspoken anti-Fascist intellectual now living in exile in France.
Using his marriage as a convenient cover he takes Giulia on their honeymoon to Paris where he can carry out the mission. While visiting Quadri he falls in love with Anna - the professor's young wife - and actively pursues her.
Although it becomes clear that she and her husband are aware of Marcello's Fascist sympathies and the danger he presents to them, she seems to accept his advances, as well as forming a close attachment to Giulia toward whom she appears to make sexual advances as well, possibly for Marcello's benefit.
Giulia and Anna dress extravagantly and go to a dance hall with their husbands where Marcello's commitment to the Fascists is tested by Quadri. Manganiello is also at the dance hall, having been following Marcello for some time and being doubtful of his intentions.
Marcello returns the gun that he has been given and secretly gives Manganiello the location of Quadri's country house where the couple plan to go the following day. Even though Marcello has warned Anna not to go to the country with her husband and has apparently persuaded her that she should leave her husband and stay with him she does make the car journey. On a deserted woodland road Fascist agents conspire to stop Quadri's car with a false accident scene.
When he attempts to help an apparently stricken driver he is attacked and stabbed to death by several men who appear from the woods. Anna sees her husband being murdered, and realising the danger to herself runs to a car that had been behind them for help. When Anna sees that the passenger in the rear of the car is Marcello, she begins to scream uncontrollably, then runs off into the woods. Marcello merely watches without emotion as she is pursued through the woods and finally shot to death, though Manganiello accuses him of being a coward for not shooting Anna when she ran to their car.
The ending of the film takes place in during the fall of Benito Mussolini and the fascist dictatorship, Marcello now has a small child and is apparently settled in a conventional lifestyle. He is called by Italo, his blind friend and former Fascist, and asked to meet on the streets. While walking with Italo, they overhear a conversation between two men and Marcello recognizes one of them as Lino, who attempted to seduce him when he was a boy.
Marcello publicly denounces Lino as a homosexual, Fascist, and for participating in the murder of Professor Quadri and his wife. While in this frenzy, he also denounces his friend Italo.
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This is the story of a coward. In The Conformist , the blame for cowardice is shown not to lie completely with accused, but neither does he come close to being acquitted either. Jean-Louis Trintignant's Clerici, as the titular conformist, only wants to fit into the society he lives in, Mussolini's fascist regime. He wants so badly to belong somewhere, anywhere, that he's willing to kill his stand-in father an old professor , just to be granted the right to marry a woman he doesn't really love the adorably flapper-ish Stefania Sandrelli in order to attain some sense of 'normalcy.
Surely a contender for the most beautifully photographed film to grace the screen, Bernado Bertolucci's Il Conformista is truly a wonder to behold. Wrapped in an 'every frame as a picture in a coffee table book that I would happily peruse every day' is a tightly woven tale of political intrigue set against the back-drop of fascist Italy, where Marcello Clerici Jean-Louis Trintignant travels to Paris to deal out Mussolini's ideology in the form of an assassination on his former College Professor Luca Quadri Enzo Tarascio.
The narrative is fragmented with flashbacks, demanding the viewer keep up, whilst drowning the viewer in exquisite cinematography that drops us in a world of trench-coats and fedoras channeling Melville , porcelain beauties Dominique Sanda,…. As a collectivist, I am very much for belonging. I am a big fan of community spirit and of togetherness. The distinction between my personal brand of collectivism and fascism, or one of many, is in the difference between conformity and acceptance.
I look out on the diversity of the world, and I think how amazing it all is. I want everyone to see their differences, accept them, and appreciate them in others. In fascism, conformity is the rule. They see differences out there, and they want to quash them. They want to dress in uniform, metaphorically and often literally speaking, and destroy that which doesn't fit.
There are collectivists, communists, socialists, who hew closer to conformity than acceptance, in…. An oddly unsatisfying and confusing film that has incredible cinematography and lighting. It's still worth a watch if you don't mind not understanding half of what's going on because, I repeat: incredible cinematography. However, even with the visuals, and the decent acting, the story didn't really compel me all that much.
Maybe I wasn't in the right mood.
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