Review of The Conformist (1971) by Travis H — 30 Mar 2004

[SIZE=3][FONT=Times New Roman]I've seen a fair assload of films in the gap since I last posted with some regularity, so over the next few days, I'm going to try to catch up. Most reviews will be brief (or nonexistent)--I'm happy to discuss, of course.[/FONT][/SIZE].

[SIZE=2][FONT=Arial][I]The Conformist[/I] (Bernardo Bertolucci, 1970).

[I]Bull Durham[/I] (Ron Shelton, 1988) [/FONT] [/SIZE].

[SIZE=3][FONT=Times New Roman]For some reason baseball has seen far more cinematic success than any of the other major sports. Basketball has [I]Hoosiers[/I] and that?s about it; football has ? what? [I]Jerry Maguire[/I]? (Eh.) But baseball, perhaps drawing on its deep roots in American soil, has produced a number of winners, from [I]Pride of the Yankees [/I] to [I]Field of Dreams[/I]. [I]Bull Durham [/I] doesn?t doesn?t quite reach the heights of the pantheon, but is a pleasant enough way to while away a couple of hours (how like an early summer baseball game): the three-way romance between pitcher and catcher (heh) and fan has charm, but not so much depth. And is it just me, or did the guys on this team seem generally way old for Single A?ers?[/FONT][/SIZE].

[SIZE=2][FONT=Arial][I]The Battle of Algiers[/I] (Gillo Pontecorvo, 1965) [/FONT] [/SIZE].

[SIZE=3][FONT=Times New Roman]Pontecorvo?s documentary-style re-creation of the Algerian struggle for independence from France is most remarkable for its own independence from dogma or righteousness. Neither the guerillas nor the French military are let off the hook for their actions or condemned without regard to context, nor is the audience let off from an honest confrontation with the moral conundrums inherent to violent conflict.[/FONT][/SIZE].

[SIZE=2][FONT=Arial][I]Last Tango in Paris[/I] (Bernardo Bertolucci, 1972) [/FONT] [/SIZE].

[SIZE=3][FONT=Times New Roman]It?s too bad that directors like Bertolucci and later Coppola with [I]Apocalypse Now [/I] didn?t see fit to reign Marlon Brando in more than they do. His ad-libbing hurts both films and does nothing for his performance. Still, when sticking to the point, Brando delivers, though not as impressively as Maria Schneider, who has to not only fight Brando?s stature and presence but bring something more than victimization to her own role.[/FONT][/SIZE].

[SIZE=2][FONT=Arial][I]M. Hulot?s Holiday[/I] (Jacques Tati, 1953) [/FONT] [/SIZE].

[SIZE=3][FONT=Times New Roman]Ah, Terry Jones loves M. Hulot, so I feel like I should too. But I only just like it. It?s cute and charming, but weightless. It?s amusing, but not hilarious. C?est la vie.[/FONT][/SIZE].