Ultimo tango a Parigi

Bernardo Bertolucci's Last Tango in Paris simultaneously mocks and mourns the human yearning for love and companionship. The movie is a requiem for unrequited love, and a testament to the proclivity of humans to surrogate love with lust when trapped in a maelstrom of despondence, chagrin, and compunction. Bertolucci's purpose is not to glorify carnality as a virtue or to scorn it as a vice, but is to use it as an instrument to authenticate the veritable existence of a dark, ugly, and bestial side of humanity, which is so often suppressed and hypocritically denied in similar works on the subject. Bertolucci's penchant for art is limitless and he uses it to full effect in order to give the movie an aesthetic feel while simultaneously catering to the movie's explorative, earthy, and unconventionally bold motifs. Bertolucci uses his characters uncannily as a medium to foray into unexplored realms of human psyche while unflinchingly projecting them as objects of desire, disgust and depravity. Bertolucci pushes Brando and Schneider to a limit where they are not only forced to compromise their egos but also relinquish their pride, and I say that not as an offence but as an appreciation for his talent as a movie-maker. Renowned film critic Pauline Kael bestowed the film with the most ecstatic endorsement of her career, writing, "Tango has altered the face of an art form. This is a movie people will be arguing about for as long as there are movies." American director Robert Altman expressed unqualified praise: "I walked out of the screening and said to myself, 'How dare I make another film?' My personal and artistic life will never be the same." Eminent critic Roger Ebert has added the film to his "Great Movies" collection.

The movie presents an episode in the lives of two loners residing in Paris: Paul, a recently widowed, middle-aged American businessman, and Jeanne, a young, voluptuous, soon-to-be-married Parisian girl. The two accidentally meet up in an empty apartment available for rent, and a steamy affair ensues between the two on strictly anonymous basis. Paul is very discreet about his identity and whereabouts and even cajoles Jeanne to religiously follow the protocol. Paul sees Jeanne as a carnal surrogate for his deceased wife, while Jeanne finds in Paul a lover which her fiancé could never become. The two continue to meet and serve each other at regular intervals while also going about their regular business. Their sexually charged up affair, despite a disconnect at the emotional level, satiates them both beyond expectations, and resonates to the viewer an ineffable sense of frenzy and euphoria that holds him in a vice-like grip for the entire length of the movie. The dramatically botched, anti-climactic ending of the movie, which has been snubbed by critics, still manages to testify the axiomatic consistency of change in packing a punch stronger than the modern-day gimmicks.

Marlon Brando gives an inciteful, poignant, tour de force performance as the reclusive widower. Many people called Brando a chameleon, but I would call him a chameleon who hated his camouflage; a prodigy who detested his talent; a narcissist who abhorred himself for being a mortal. Brando as Paul is a cross between a sadist and a masochist. He uses every ounce of his talent to conjure up his menacing alter-ego. Driven by guilt and chagrin, Paul's sociopathic self is a nightmare for those around him. Roger Ebert wrote about Brando's performance: "It's a movie that exists so resolutely on the level of emotion, indeed, that possibly only Marlon Brando, of all living actors, could have played its lead. Who else can act so brutally and imply such vulnerability and need?" The scene in which Paul confronts the dead body of his wife, who has committed suicide, is probably the most powerful scene ever filmed in cinema. It not only depicts the complexities associated with Paul's character but also highlights the dichotomy he suffered owing to his dual emotions of rage and grief.

Maria Schneider is innocent, charming, voluptuous and pitiful in her portrayal of Jeanne, a Parisian girl whose life is devoid of true love. Schneider, being fully aware of her limitations as an actor, incredibly manages to give a performance that is singular and effective enough not to be adumbrated by Brando's sublime, over-the-top portrayal.

The cinematography of the movie is vivid, elaborative, and expressive and is well complemented by the movie's sensuously evocative background score.

PS. Last Tango in Paris is a profoundly disturbing case-study of human emotions and is a must for cineastes worldwide, but can only be savoured by eschewing bigotry, prejudice, and conservatism. 9/10

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I'm thinking of "Last Tango in Paris" today because Neznaia, a kind IMDb user, asked me to write about it and I promised I would. Now a dilemma. Shall I write as I remember the experience or shall I watch it again? Well I'm already here so I seem to have taken a decision. Butter, that was the key word that pushed crowds to line up outside the theaters all over the world. Over the years the film has been vilified as utter euro trash or acclaimed as one of the best films ever made. I think that the truth falls somewhere in the middle. Bertolucci was coming out of at least two certified masterpieces of political, social and cinematic achievement "Before the Revolution" and "The Conformist". Tango is something else altogether, cinema veritè photographed by Vittorio Storaro, a revolutionary artistic genius, Gato Barbieri's music and Marlon Brando giving himself totally in one of the most brilliant pieces of self indulgence ever put on film. Within the intellectual coldness of its intentions breaths a stunning melodrama of operatic proportions. As a side note let me tell you that legend has it that in the original script, the Maria Schnaider's character, was a boy. At the time an idea of the sort was too outrageous to even consider. Everybody was very sophisticated but not that sophisticated. Apparently the movie went on with a girl in the part but not even a coma was changed from the original. Now, look at the film again with that in mind and you will notice that everything, as if by magic, makes perfect sense. We are ask to justify Brando's first wild approach to Schnaider was an irrational reaction to the pain, the anger and confusion by his wife death. Well yes, but he is a man, she is a woman, they may be braking a few rules but the basics remain intact, unless, of course she wasn't a she. If they are a man and a girl above the age of consent why the charade of secrecy? Why she's never really dressed like a girl, always jackets and open neck shirts and why they never make love like a man and a woman, usually, do? A lot of fingers and butter and,talk. When they get to the tango scene Brando dances with a real woman while Maria Schnaider monkeys around them. And finally look at the end and tell me if doesn't make much more sense if she was a he. She could have explained everything, embarrassing perhaps I don't know, but perfectly normal. If she was a he, the son of a military man, the thing had an entirely different color. Impossible to admit or to explain for a boy. Their affair is not between two gay man but between two heterosexuals. That's the key, that's at the center of it all. A breaking of rules in the most intimate way. To go against what you have come to accept as your own nature. I may be wrong of course, but I don't think so. I will see it again as soon as I can and if I feel that this memory of the film is merely a product of what I may have been smoking at the time I will let you know. But, somehow, I don't think I will have to.

The acting of Marlon Brando is one of the major reasons to watch this feature film. Brando for the first time in his career exhibits a physical performance that matches the emotional intensity of his earlier films. Paul like the lead male characters in A Streetcar Named Desire(1951) and On the Waterfront(1954) is someone who behaves in an animalistic fashion. 1972 saw Marlon Brando in a banner year with his performances in The Godfather and Last Tango in Paris. It was the last great performance of Marlon Brando as he hasn't done anything good(except Apocalypse Now) as this.

The actor shows plenty of emotion and human depth in his role. Some of the scenes with Maria Schneider are some of the most difficult things done by the actor. The scene where Paul lets out his anger and frustration out on his dead wife is a prime example of why Marlon Brando is a great actor. This sequence reveals some about the character of paul. Marlon does a convincing job during the erotic scenes.

The direction by Bernardo Bertolucci is fantastic. It seems that being an Assistent Director for Pier Paolo Pasolini had paid off in the making of Ultimo Tango a Parigi/Last Tango in Paris(1972). There are Pasolinian moments that are evident in many parts of the movie. Bertolucci spends more time creating a three dimensional chracter in Paul then he did on Jeanne. The erotic sequences are done by the director with finesse and style.

There is a contrast between Paul(Last Tango In Paris), and Vitto(The Godfather). First, Vitto is calm and cool while Paul is emotionally unstable. Second, Paul is sexually active while Vitto is sexually inactive. Third, Vitto concerns himself with the family structure and Paul is an individual. Finally, Paul is middle aged and somewhat in shape and Vitto is old and nearing death.

On the day of its release, Last Tango in Paris Stirred up an enormous uproar. This had nothing to do with the sex scenes itself but the content that propelled these scenes. It was banned in the director's native soil. One scene that caused a stir is the scene where Jeanne puts her hand in Paul's backside. Another scene that upset people is the infamous "Butteromy" Sequence.

Maria Schneider gives a couragous and emotionally difficult performance as Jeanne. This film had a negative effect on the actress as she later had a breakdown and spent some time in an asylum. In one interview, Maria Schneider discussed her displeasure with the director. She does a wonderful job in the scene where she describes her relationship with a cousin as a young girl. She does things that many well known actresses would be afraid to do.

The emotional level of the sex scenes are what caused such a scandal. The sex is not out of love but out of despair and the yearning for human contact. The "Butteromy" scene takes that notion to the extreme. What makes the sex scandalous is the fact that Paul and Jeanne treat it in a matter of fact way. It seems that Paul is Jeanne's sex toy as that's the way she views him.

Romance director, Catherine Breillit has an appearence in Last Tango in Paris(1972). The supporting cast are good in their perspective roles. Jean-Pierre Leaud is terrific in his portrayal of Jeanne's clueless beau. He would appear in another erotic themed feature called The Mother & the Whore(1973). Jean Pierre Leaud's character is the exact opposite of Paul.

Ultimo Tango a Parigi opens with images of a Francis Bacon painting. The characters are nothing but live paint figures of a Francis Bacon masterwork. The director was influenced by the works of the painter when he decided to do the film. The scene where Brando is crouched in a corner is a live reactment of one painting during the opening credits. Bacon's paintings like the feature look deep within the pits of the human soul.

Agnes Varda wrote some additional dialogue for this motion picture. Last Tango in Paris comes between two classics in The Conformist(1970), and 1900(1976). It is avilable in both a R and NC-17 version. The ending is ironic and tragic because Paul is on the verge of turning over a new leaf. The cinematography by Vittorio Storaro makes the camera another member of the cast.

A tired middle aged American businessman encounters a young woman while flat hunting in Paris; and starts a torrid affair with her.

One of the those movies that more people have heard about than seen and probably works better that way. While certainly sexually frank, even today, it is far too European art house for most tastes.

The plot idles, stops and jerks like a country milk train, leaving so many questions unanswered that you have to write half the script in your own head to get through it.

Brando's portrait of a man that seems torn between falling in love and falling under a bus is certainly unique. Especially as most viewers and critics had concluded that he had already shown his full hand of cards. In contrast co-star Schnieder is amazing in being able to put together a performance from so little. Indeed she is just an inflated muse, who the film seems little interested in.

My problem with the film is that it is about emptiness, depression and alienation; but there is so much of it about anyway (and always has been, just turn on the news!) that going looking for in cinema seems pointless. The sex is not really sexy, merely people trying to enliven their dull lives not unlike people who take drugs to achieve the same. If there is romance here, it can only be seen as a sadomasochistic romance played out among damaged people.

LTIP is certainly a milestone picture, if only for Brando's totally open and no holds barred performance, but it leaves far too many question unanswered to be anything like a classic. Indeed this is merely an exercise in mood, tempo and design and was a box office hit because people had not seen frank sexuality on the screen like this before.

The world of sex-on-film has moved on so much since this was released that today's audience will not have a clue what caused the press headlines. Indeed many will be yawning through the famous scenes that once shocked a generation...

Brando is a middle-aged American whose wife has committed suicide; Schneider is a young European beauty seeking a sense of personal identity. The two meet by chance in an empty apartment--and immediately embark upon an anonymous affair in which Brando seeks to both purge and renew himself through Schneider.

Both stars offer intense performances, and director Bertolucci invests the film with numerous poetic and symbolic flourishes. The cinematography is elegant; the score is quite interesting. But when everything is said and done, LAST TANGO IN Paris is extremely thin stuff that relies on sexual shock to generate tension--and what was once shocking is now passe. At the time TANGO was made, it was unthinkable that a major Hollywood star would appear in such a film... Yet by today's standards, the nudity involved is quite mild, the sex scenes are surprisingly discreet, and the script is oddly naive. It all seems very tame.

Moreover, the film's subplots slow the action to a crawl and the film as a whole has a self-conscious, faintly pretentious tone. Brando and Schneider, both separately and together, offer quite a few impressive moments, but you have to wade through a lot to get to them. Is it worth it? Difficult to say. Although I don't regret having watched the film, I flatly state that I would not bother to watch it again. My recommendation: see it before you buy it, because one viewing may be quite enough.

Gary F. Taylor, aka GFT, Amazon Reviewer