It’s easier to describe the historical importance and immense influence of Bernardo Bertolucci’s 1970 film “The Conformist” than to describe what it’s about, or to discuss the peculiar experience of watching it in 2014. Indeed, I suspect there is no separating form and substance with “The Conformist,” and the minute you say that it’s primarily an exercise in prodigious visual style, or that it’s a political thriller about a Fascist secret policeman on a murderous mission in France, you have committed an important taxonomical error.