seeking normality
by Douglas Messerli
Bernardo
Bertolucci (screenplay, based on a novel by Alberto Moravia, and director) Il
conformista (The Conformist) / 1970
Prismatically told, mostly in
flashbacks, Bertolucci’s great film The
Conformist is a devastatingly complex and ironic work about Fascism—both
Mussolini’s Italian version and fascism in general—focused upon the figure of
Marcello Clerici (Jean-Louis Trintignant). From the very beginning of the film,
Marcello admits to a priest that he is marrying a course, bourgeois woman in
order to gain “normality”:
Marcello: I’m going to
build a life that’s normal. I’m marrying
a
petty bourgeois.
Confessor: Then she
must be a fine girl.
Giulia: Speak out. Go
ahead.
Marcello: Mediocre. A
mound of petty ideas. Full of petty
ambitions. She’s all bed and kitchen.
And with his friend, Italo (José
Quaglio), he reiterates the connection between the petty bourgeois and fascism:
Italo: A normal man?
For me, a normal man is one who turns
his head to
see a beautiful woman’s bottom. The point is
not just to
turn your head. There are five or six reasons. And
he is glad
to find people who are like him, his equals. That’s
why he likes
crowded beaches, football, the bar downtown….
Marcello: At Piazza
Venice.
Italo: He likes people
similar to himself and does not trust those who
are
different. That’s why a normal man is a true brother, a true
citizen, a
true patriot…
Marcello: A truce
fascist.
In fact, Marcello has petitioned the
Italian Fascist government to allow him to join them as an underground spy and
informer.
Marcello’s mother lives in a decaying villa, where she is having an
affair with her chauffeur, who brings her morphine to maintain her drug
addiction.
By bits and pieces, through memories
and confessions, Marcello reveals that as a child he was not only abused by
local boys, but sexually accosted by another family chauffeur, Lino (Pierre
Clémenti). After the sexual event, the child, Marcello, grabs the accoster’s
gun and shoots him, believing he has killed him.
Even as an adult, now assigned to
journey to Paris with his new bride, Giulia (Stefina Sandrelli) where he is
ordered to seek out a former professor, Quadri (Enzo Tarascio), and kill him,
Marcello finds a world that is anything but “normal.” Although they know the
reason for Marcello’s visit, both the Professor and his beautiful young wife,
Anna (Dominique Sanda), entertain the couple and toy with them, the result of
which Marcello falls in love with Anna, while Anna sexually attends to a
delighted, and not so ordinary, it appears, Giulia. Consequently, Marcello is
unable to act, ultimately giving up his gun to the Fascist thug, Manganiello
(Gastone Moschin), who has been assigned to follow him. As desperate for
conformity as he may be, wherever Marcello turns he is met with what he
perceives as decadence, eccentricity, and perversion.
If Bertolucci’s and Moravia’s psychological assumptions appear, at
times, far too simplistic, in the example of Marcello they become more complex
simply because he is a man caught between these two seeming extremes. Both a
product of the pre-war decadence and a man seeking moral simplicity, he cannot
live in either world. Throughout most of the film he is observed attempting to
chase down and save his new lover, Anna, Quadri’s wife; but when he finally
catches up with her, he is forced to become—at least, has no other choice than
to remain—a passive voyeur to the Professor’s and her deaths as Manganiello and
other Fascists chase them down, slashing them over and over again with knives.
Perhaps the most painful moment of the movie occurs when Anna, perceiving her
own danger, races from the car, hoping to be saved by the car following them,
wherein Marcello sits. Her former lover, however, will not even open the
window, as she turns in horror towards the woods, betrayed by the very man whom
she and the professor were convinced was far “too serious” to be serious.
At Mussolini’s downfall, we once again
catch up with Marcello, now a conventional Italian, with a wife and child. He
has been asked to meet with his old friend Italo—who we now recognize was
another exceptional being, in his blindness, of Marcello’s past. Guilia begs
him not to go out, fearful that, as a former Fascist, he will be in danger:
Giulia: What are
you going to do now?
Marcello: The
same as everyone else who thought like me.
When there are so many of us, there’s no risk.
Giulia: Marcello,
don’t go out. They could hurt you.
Marcello” I won’t
be in danger. After all, what have I done?
My
duty.
Giulia: But why
do you want to go?
Marcello: I want
to see how a dictatorship falls.
Both Lino and Italo race away into the night, while the man who would
have liked to have been a Fascist, a conformist, one of the everyday men in
life, remains, hovering against a street fire as he stares into the face of the
young boy Lino has left. Marcello is an outsider no matter which way he turns,
but, more importantly, he is now a man who cannot return to the conventionality
he has attempted to embrace.
Bertolucci’s beautifully filmed fable, recreating the costume and feeling of the time, alternatively engaging us in subtle variations of dense color and cool black-and-white, has transformed Moravia’s more polemic work into a rich tragic-comedy in which Marcello comes to be seen, almost as in Fellini’s films, as a well-suited clown, a man both seemingly at home but completely at odds with the world in which lives.
* David
Melville Wingrove, in response to a posting of this film pointed out some of
the most serious problems with novelist Alberto Moravia’s and director Bernardo
Bertolucci’s notions of sexuality as argued in the film. Wingrove writes: “The
Conformist is an undeniably brilliant film but its sexual politics are
really rather odd. It asks us to believe that A) an early incident of sexual
abuse can 'turn' a person gay; B) being gay and repressing it will predispose a
person to become a fascist; C) a repressed gay man will feel an overpowering
sexual attraction towards lesbians; and D) lesbians spend their days (and
nights) trying to seduce heterosexual married women and their husbands. As far
as I know, not one of these ideas has even the slightest basis in fact. But The
Conformist is still a great movie!
Los Angeles, January 4, 2013
Reprinted from International Cinema Review (January 2013).
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