Quod mentem moneat: Monuments and memory in Bernardo Bertolucci's The Conformist (1970).

This article examines the use of classical and Fascist-era architectural references in Bernardo Bertolucci's 1970 film *The Conformist*, an adaptation of Alberto Moravia's 1951 novel, to explore how these monuments function as layered memory complexes that shape narrative and audience cognition. It situates Bertolucci's film within the broader context of Italian cinema's engagement with Rome's urban landscape, highlighting the interplay between ancient monuments, Fascist aesthetics, and post-war cultural memory. Through detailed analysis of key scenes and locations—such as the Piazza Augusto Imperatore, the Theatre of Marcellus, and the Castel Sant'Angelo—the article argues that Bertolucci's palimpsestic editing and use of classical allusions complicate straightforward historical readings, reflecting Italy's contested relationship with its Fascist past and ancient heritage. The study also contrasts Bertolucci's approach with earlier neo-realist films like Roberto Rossellini's *Rome, Open City* (1945), emphasizing the evolving cinematic role of Rome's monuments as sites of ideological and psychological significance.