One of Bertolucci's best films, The Conformist makes a provocative connection between repressed sexual desires and fascist politics. It's an intriguing, elegantly photographed study of the twisted Italian character of the 1930s. (Review of Original Release)
Michael AtkinsonVillage Voice
Bertolucci's masterpiece--made when he was all of 29--will be the most revelatory experience a fortunate pilgrim will have in a theater this year is a foregone conclusion.
Desson ThomsonWashington Post
Masterfully arranged for color, texture, decor and camera fluidity, The Conformist is more like a symphonic poem than a movie. (Review of 1994 Release)
Hal HinsonWashington Post
Even if it weren't in pristine shape for its current re-release, it would still qualify as one of only a handful of films made in the past 30 years that truly deserve to be called great. (Review of 1994 Release)
The Conformist is a great film, drunkenly beautiful and deeply disturbing.
The movie is perfectly cast, from Trintignant and on down, including Pierre Clementi, who appears briefly as the wicked young man who makes a play for the young Marcello. The Conformist is flawed, perhaps, but those very flaws may make it Bertolucci's first commercially popular film. (Review of Original Release)
Storaro and Bertolucci have fashioned a visual masterpiece in The Conformist, with some of the best use of light and shadow ever in a motion picture. This isn't just photography, it's art -- powerful, beautiful, and effective. (Review of 1994 Release)