Bertolucci Film Analysis

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Although the novel and film differ slightly in regards to the plot the same cinematic techniques are used.
I will firstly discuss the cinematic techniques used in the Bertoluccis film which has made the film all the more intriguing such as style, lighting, flash backs, camera angles........................

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Structure and the language of literature and cinema

Il Conformista is narrated in a flowery style, where Bertolucci expresses his most inner thoughts mostly through the means of mood and visuals
Like the tremendous fascist architecture constructions and the workplaces of authority that contain towering corridors that make visitors seem completely insignificant.

The cinematic technique that I particularly thought brought the film to life was Bertoluccis use of flashbacks. They add

Some of his formal ideas were greedily consumed by American film-makers, while the radical politics and pointedly Brechtian alienation techniques were largely discarded. Thus the emotionally expressive colour scheme of The Conformist – principally evident in the honeymoon train-ride of Clerici and his blousy new bride, during which insanely unrealistic rear-projection and alternating blue and gold filters throw into doubt the dependability of Clerici’s perceptions – are partially replicated in the colour-scheme of the two sections – past and present – of The Godfather: Part II. Its flashback sections are shot in ridiculously warm and nostalgic golds and sepias (the consoling colours of infantile memory and adult self-delusion) while the late 1950s present-day
7 / 12 is rendered in icily comfortless blues and greys. Similarly, Taxi Driver’s heavy reliance on the perceptions of Travis Bickle, the least reliable narrator in 1970s cinema, is evoked using many powerful expressionist effects that Bertolucci had made his own – but, again, with no concomitant importation of his political