The Conformist - 4K Re-Release Trailer - Bernardo Bertolucci, Jean-Louis Trintignant
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- Опубліковано 4 жов 2024
- New 4K restoration returning to theaters starting January 6, 2023.
In Mussolini's Italy, repressed Jean-Louis Trintignant, trying to purge memories of a youthful, homosexual episode - and murder - joins the Fascists in a desperate attempt to fit in. As the reluctant Judas motors to his personal Gethsemane (the assassination of his leftist mentor), he flashes back to a dance party for the blind; an insane asylum in a stadium; and wife Stefania Sandrelli and lover Dominique Sanda dancing the tango in a working class hall. But those are only a few of this political thriller's anthology pieces, others including Trintignant's honeymoon coupling with Sandrelli in a train compartment as the sun sets outside their window; a bimbo lolling on the desk of a fascist functionary, glimpsed in the recesses of his cavernous office; a murder victim's hands leaving bloody streaks on a limousine parked in a wintry forest. Bernardo Bertolucci's masterpiece, adapted from the Alberto Moravia novel, boasts an authentic Art Deco look created by production designer Ferdinando Scarfiotti, a score by the great Georges Delerue and breathtaking color cinematography by Vittorio Storaro.
The last scenes were an icy blue, grey and white edged in inky black. When Dominque Sanda beat on the car window her pallor was bloodless. Not here. Wow.
I saw this film multiple times when it first was released and I've rarely seen it look the same since. Also, people need to remember that this was originally a television production for RAI. As such the visual quality (and again, I remember this about it) wasn't as refined as HD is these days. It was softer. In fact there is an earlier VHS tape that comes far closer to its original surface textures. Things change and so do our aesthetic tastes. The recent uproar over the incredibly accurate-to-the-original restorations of Visconti's DEATH IN VENICE and THE DAMNED -- both on CRITERION --shows that people generally want films brought up through today's lens rather than an approximation of its original look. It really is too bad that there can't be at least a reasonable compromise.
So it's just that we got used to the color-graded version, but this is closer to how these movies looked in a dark cinema in the 70's? I also read they include the previous restoration in the package so you get that option...
@@guffmuff90 As I wrote previous to your comment, the colors have been "murdered" here and do not look anything like the film "looked in a dark cinema in the '70s"
What is it with the peculiar yellow tinting over everything? The venetian blind-lit lovemaking scene 0:27 which "jumped" with slices of blinding white daylight now recedes in a general samesness. But all the disc releases of IL CONFORMISTA have something "wrong" with them. The closest approximation is an old VHS tape which is probably unwatchable at this point if available at all.
Vittorio Storaro's color scheme has been ruined through over-digitalization. And color is an equal player in much of late 20th century Italian film and Storaro in particular.
Many of the new restoration's of '70s films now follow suit with a heavy "yellowing" or "bluing" overlaying a heavily HD image.
Some of the most accurate restorations of that period are the two Visconti films I mentioned above and American Robert Altman's 3 WOMEN (1977). All on CRITERION.
If you want to see a stunning restoration of the Bertolucci/Storaro partnership check out NOVECENTO (1976) released by EUREKA! in their Masters of Cinema series.
BTW, speaking of Visconti I finally caught the Gucci/Film Foundation Restoration of THE LEOPARD/ IL GATTOPARDO (1963) utilizing Martin Scorsese's personal print.
It is avaiable on MADMEN Video and is a total revelation. I far prefer it's rich traditional Technicolor hues to the more popular (and overly "yellowed') CRITERION release.
The re-release trailer you dropped 2 years ago looked infinitely better than this. Why is everything yellow? What happened to the blues?
Breathtaking. Without storaro's revolutionary work you would still have trintingnant, great script and costumes and period detail that somehow go beyond what we're used to seeing in movies. Watching it recently, the movie feels dangerous, in a beautiful way, it has a way of slowly sneaking up on you and knocking you out cold. The use of color photography is a milestone in that field. The orchestration precedes and probably supercedes the godfathers and TRINTIGNANT! In not the first and certainly not the last in a career of commanding performances, ending recently in haeneke's happy end. He was am actor who's presence transcended any language barrier. Look at the range between My Night At Maud's, The Conformist, and Red. Very possibly France's greatest post war actor
It’s yellow because L’Immagine Ritrovata did the restoration! They apparently love the color because it seems the majority of their restorations are saturated with it. Whatever colors the films originally had will be drained away. Approach any of their restorations with low expectations and you won’t be disappointed.
Wong Kar Wai must've overseen the color grading lmaoooo
This yellow shit is a crime. You killed Vittorio Storaro's colors. Why would you do this, who is responsible and how is it legal???
I saw this version in a theater last week lured by the 4K restoration. And I felt that there was something off. I didn't recall the excitement that I had with this film when I've watched it the past. Now that I've compared side by side with the trailer Kino posted for the 2014 re-release, I know why. The high color contrasts of the previous versions are now deadened by the overall yellow/orange hue.
Try again Kino.
Did L'Immagine Ritrovata do this restoration? They now have a horrible track record of revisionist color grading for all kinds of older films, and this seems no exception. This looks almost sepia, it's so yellow! Awful.
I really hope any physical media release of this will look better.
Why is everything yellow?
because you have jaundice.
Someone doesn’t understand authentic theatrical color grading
Why so yellow?
Another classic film ruined by L‘Immagine Ritrovata. ☹️
What is with these Italian transfers that are all yellow? That is not the way this film looked, nor is it the way any film looked from that era. Young Girls of Rochefort? Yellow. That Man from Rio? Yellow. The Good, The Bad, and the Ugly? Yellow. It's ridiculous.
Stefania Sandrelli,i love you!
Looks like a beautiful, film-like restoration. Please release using these properly restored film print colors as in this trailer, as opposed as too neutral a color scheme that people seem to be crying for here.
absolutely not.
Really leaning into being an influence on Breaking Bad and Better Call Saul's cinematography by applying a yellow tint to the picture.
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😢 Mona idainTrauma idaDaVinci love Bertolucci WordsInLineSpaceAndTime thanks who are you ? Who am I, Wold Woody iandi be Paying Money to 2 watch this Movie Film cinematic production WordsInLineSpaceAndTime idaMorricone ProblemaEnUtopia monami Mona Vainy comment just asking for clarification
Movies are still the most important art, Dave Kehr