The Conformist (1970, dir. Bernardo Bertolucci) (via)
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
The Conformist (1970, dir. Bernardo Bertolucci) (via)
Marlon Brando & Maria Schneider on the set of Last Tango in Paris (1972, dir. Bernardo Bertolucci) (via)
Stefania Sandrelli & Jean-Louis Trintignant in The Conformist (1970, dir. Bernardo Bertolucci) (via)
“To me, making a film is like resolving conflicts between light and dark, cold and warmth, blue and orange or other contrasting colors. There should be a sense of energy, or change of movement. A sense that time is going on - light becomes night, which reverts to morning. Life becomes death.
Making a film is like documenting a journey and using light in the style that best suits that particular picture…the concept behind it.”
-The Conformist cinematographer Vittorio Storaro (via)
The Conformist (1970, dir. Bernardo Bertolucci) Art direction by Ferdinando Scarfiotti.
Marlon Brando & Maria Schneider in Last Tango in Paris (1972, dir. Bernardo Bertolucci) (via)
![Jean-Louis Trintignant in The Conformist (1970, dir. Bernardo Bertolucci)
“Godard was my real guru, you understand? I used to think there was cinema before Godard and cinema after - like before and after Christ. So what he thought about the film meant a great deal to me.
[At the screening], he doesn’t say anything to me. He just gives me a note and then he leaves. I take the note and there was a Chairman Mao portrait on it and with Jean-Luc’s writing. The note says: ‘You have to fight against individualism and capitalism.’ That was his reaction to my movie. I was so enraged that I crumpled it up and threw it under my feet.
…Why do you think Godard didn’t like The Conformist, I ask Bertolucci. It was, after all, partly a trenchant diagnosis of a fascistic mentality. “I had finished the period in which to be able to communicate would be considered a mortal sin. He had not.”
But there might be another reason Godard didn’t like the film. In it, [the assassin] asks for [a targeted dissident teacher’s] phone number and address. “The number was Jean-Luc’s and the address was his on Rue Saint Jacques. So you can see that I was the conformist wanting to kill the radical.”
Indeed, Bertolucci takes evident delight in the fact that, for all Godard’s Maoist contempt for The Conformist, a rising generation of film-makers saw his picture as a revelation. “What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that The Conformist is their first modern influence.”
(via)](http://24.media.tumblr.com/tumblr_llu0mdSo7H1qzdvhio1_r6_500.jpg)
Jean-Louis Trintignant in The Conformist (1970, dir. Bernardo Bertolucci)
“Godard was my real guru, you understand? I used to think there was cinema before Godard and cinema after - like before and after Christ. So what he thought about the film meant a great deal to me.
[At the screening], he doesn’t say anything to me. He just gives me a note and then he leaves. I take the note and there was a Chairman Mao portrait on it and with Jean-Luc’s writing. The note says: ‘You have to fight against individualism and capitalism.’ That was his reaction to my movie. I was so enraged that I crumpled it up and threw it under my feet.
…Why do you think Godard didn’t like The Conformist, I ask Bertolucci. It was, after all, partly a trenchant diagnosis of a fascistic mentality. “I had finished the period in which to be able to communicate would be considered a mortal sin. He had not.”
But there might be another reason Godard didn’t like the film. In it, [the assassin] asks for [a targeted dissident teacher’s] phone number and address. “The number was Jean-Luc’s and the address was his on Rue Saint Jacques. So you can see that I was the conformist wanting to kill the radical.”
Indeed, Bertolucci takes evident delight in the fact that, for all Godard’s Maoist contempt for The Conformist, a rising generation of film-makers saw his picture as a revelation. “What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that The Conformist is their first modern influence.”
(via)
Jean-Louis Trintignant in The Conformist (1970, dir. Bernardo Bertolucci)
“Marcello is really a very complex character, searching to conform because of his great, violent anti-conformism. A true conformist is someone who has no wish to change; to wish to conform is really to say that the truth is the contrary.”
(Bernardo Bertolucci: interviews)
