"The Conformist" is the only movie that organically moves back and forth between flashbacks and the present. Others, even the great ones, have jolts and require momentary re-organization of perception. In "The Conformist" every step backward in time moves forward the narrative. Another aspect of the flashbacks is that usually they act as a padding device or a cheap way out from the inability to sustain a tension of the present (for example "The man named Ove", or otherwise incredible "Femina" by Szulkin). No so in "The Conformist".
On another subject: There is an interesting dialogue between Storraro and Bertolucci about shooing "The Conformist". Particularly the part when Storraro explains how he handled with light the Plato's metaphor of the cave.
https://www.youtube.com/watch?v=p5RRhqrPuE4
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