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IMDbPro

Ultimo tango a Parigi

  • 1972
  • VM18
  • 2h 9min
VALUTAZIONE IMDb
6,8/10
61.126
LA TUA VALUTAZIONE
POPOLARITÀ
2396
147
Marlon Brando and Maria Schneider in Ultimo tango a Parigi (1972)
Theatrical Trailer from 20th Century Fox
Riproduci trailer1: 31
3 video
99+ foto
Steamy RomanceTragedyDramaRomance

Una giovane donna parigina incontra un uomo d'affari americano di mezza età che le chiede di avere una relazione clandestina basata solo sul sesso.Una giovane donna parigina incontra un uomo d'affari americano di mezza età che le chiede di avere una relazione clandestina basata solo sul sesso.Una giovane donna parigina incontra un uomo d'affari americano di mezza età che le chiede di avere una relazione clandestina basata solo sul sesso.

  • Regia
    • Bernardo Bertolucci
  • Sceneggiatura
    • Bernardo Bertolucci
    • Franco Arcalli
    • Agnès Varda
  • Star
    • Marlon Brando
    • Maria Schneider
    • Maria Michi
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,8/10
    61.126
    LA TUA VALUTAZIONE
    POPOLARITÀ
    2396
    147
    • Regia
      • Bernardo Bertolucci
    • Sceneggiatura
      • Bernardo Bertolucci
      • Franco Arcalli
      • Agnès Varda
    • Star
      • Marlon Brando
      • Maria Schneider
      • Maria Michi
    • 240Recensioni degli utenti
    • 79Recensioni della critica
    • 77Metascore
  • Vedi le informazioni sulla produzione su IMDbPro
    • Candidato a 2 Oscar
      • 7 vittorie e 10 candidature totali

    Video3

    Last Tango in Paris
    Trailer 1:31
    Last Tango in Paris
    Last Tango In Paris: Uncut Version (Not Knowing)
    Clip 1:26
    Last Tango In Paris: Uncut Version (Not Knowing)
    Last Tango In Paris: Uncut Version (Not Knowing)
    Clip 1:26
    Last Tango In Paris: Uncut Version (Not Knowing)
    Last Tango In Paris: Uncut Version (No Names)
    Clip 1:28
    Last Tango In Paris: Uncut Version (No Names)

    Foto277

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    + 271
    Visualizza poster

    Interpreti principali28

    Modifica
    Marlon Brando
    Marlon Brando
    • Paul
    Maria Schneider
    Maria Schneider
    • Jeanne
    Maria Michi
    Maria Michi
    • Rosa's Mother…
    Giovanna Galletti
    Giovanna Galletti
    • Prostitute…
    Gitt Magrini
    • Jeanne's Mother…
    Catherine Allégret
    Catherine Allégret
    • Catherine
    • (as Catherine Allegret)
    Luce Marquand
    • Olympia
    Marie-Hélène Breillat
    • Monique
    • (as Marie-Helene Breillat)
    Catherine Breillat
    Catherine Breillat
    • Mouchette
    Dan Diament
    • TV Sound Engineer…
    Catherine Sola
    • TV Script Girl…
    Mauro Marchetti
    • TV Cameraman…
    Jean-Pierre Léaud
    Jean-Pierre Léaud
    • Tom - un cinéaste, le fiancé de Jeanne
    • (as Jean-Pierre Leaud)
    Massimo Girotti
    Massimo Girotti
    • Marcel
    Peter Schommer
    • TV Assistant Cameraman…
    Veronica Lazar
    Veronica Lazar
    • Rosa
    Marie-Christine Questerbert
    • Christine
    • (as Rachel Kesterber)
    Ramón Mendizábal
    • Tango Orchestra Leader…
    • Regia
      • Bernardo Bertolucci
    • Sceneggiatura
      • Bernardo Bertolucci
      • Franco Arcalli
      • Agnès Varda
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti240

    6,861.1K
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    Recensioni in evidenza

    8arichmondfwc

    Butter or Margarine

    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.
    8christopher-underwood

    Maria Schneider does well to keep up in English, French and broken English

    The film stunned me when I saw it in the cinema some 45 years ago and I'm not sure I have braved it since unless I watched some murky video. So much has happened in cinema since that first viewing that it is no longer quite so shocking but still packs a punch. Beautifully shot, there are lovely shots of Paris and the light upon the walls of the apartment but there is ugliness too and there is never a moment one can relax confident that all will be well. Brando is brilliant, if slightly awkward and Maria Schneider does well to keep up in English, French and broken English. As the two mismatched individuals merge together into some sort of passionate but loveless relationship we learn something of the background. Essentially, Brando is bereft following the suicide of his wife, right at the start and Schneider has a much more conventional, if barely believable one with an aspiring film maker. He is played by Jean-Pierre Leaud, he star of many New Wave films, particularly for Godard and Truffault and it would seem that Bertolucci is having a little fun here pitting the pretty boy of trendy 60s cinema against the old brawler Brando (I understand though that Leaud was so intimidated by the American giant that he could not work alongside him). I noticed this time that the soundtrack I have always loved seems to begin and finish rather abruptly at certain points of the film and it seems I may have found the reason. Apparently there is, or was, a four hour rough cut of the film and that it was this that Gato Barbieri studied in order to decide where the film required music. Seems reasonable, therefore, to suppose that when the film was cut by almost a half, the music may no longer slip so unobtrusively in and out.
    8ACitizenCalledKane

    Last Tango in Paris will return to you any thought you put into it...A masterpiece!

    Bernardo Bertolucci's Last Tango in Paris is like any other piece of art; You get out of it only as much as you put into it. Many people saw this movie in the 1970's (and still see it today) as being pornography and nothing else. Others viewed it and took note of Brando's performance (how could you not?!?), and noticed much, much more than a mere "skin flick." Personally, I find it to be a very important piece of art. Why? Because it broke barriers! In art, barriers only exist so that they may be broken, and I know that sounds like some "liberal artsy BS," but I think it's true. Artists are always trying to get down to the basics of human existence, and, unfortunately, it's not always pretty. This film, I believe, portrays a few elements of the human experience. Passion is the first. Then, facades, our need to defend ourselves from vulnerability. Also, the film tries to show the circular nature of our lives (things end only to begin again). The passion is expertly exposed through the savage brutality that Brando brings to the performance, as only he knew how to. Many argue that this was Brando's finest performance, and I can see why. I don't know if I could ever pick one performance of his and say it was his best, but this would easily, easily be a prime candidate. In Last Tango in Paris, Marlon Brando pulls out all of the stops, almost abusing his freedom in the role. Yet, this is where the film gets truly intriguing. Is this an act? It is, at least in name, a performance, but, how much of it is a performance, and how much is a stream of consciousness therapy session? I have never seen an actor pour so much of himself out before a camera. Watching it, I couldn't help but wonder, "What must be going on behind his eyes?" How can a man reveal so much of who he is, knowing that it is being filmed to be viewed by millions? Brando's "performance" forces the audience to question is Marlon Brando the performer or the performance. We'll never know. Perhaps he didn't know. Perhaps that is how he could pull off the monumental performance that he did. It is quite possibly the greatest performance I have ever seen. The fact that I have to wonder whether his character, Paul, is the truth or an image is only testament to Brando's power. As far as the circular nature of things, we see a role-reversal between Maria Schneider and Marlon Brando. At the beginning, it is Brando who is confused, lost, driven mad by the toll that a past love has taken on him. Yet, at the end of the film, it is Schneider's Jeanne who cares not about names, identity, and personal histories. Her life is committed to distance and emotional isolation. Her mind has confined itself to that little apartment where intimacy knew no bounds, except the publicity of a painful outside world. A million questions could be asked about these two central characters. What was going on in their minds? Who was more fragile, the tormented Paul, or the seemingly carefree Jeanne? Who controlled the relationship? Was there control? Was there a relationship? This film, like all other great films, leaves us asking questions, not only about the characters we've seen, but about the characters we portray on a daily basis.
    5gftbiloxi

    Brilliant Performances But Over-Rated As A Whole

    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
    6Pedro_H

    A milestone in cinema, but cold and alienating

    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...

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    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Both Marlon Brando and Maria Schneider admitted that they felt raped by this film and refused to speak with director Bernardo Bertolucci ever again. Yet in his autobiography, Brando says that Bertolucci was one of the three best directors he ever worked with.
    • Blooper
      As the camera pulls away from the balcony at the end, a crew member and a lighting array can be seen reflected in the glass panel of the right balcony door.
    • Citazioni

      [alone at his dead wife's bedside during her wake]

      Paul: Our marriage was nothing more than a foxhole for you. And all it took for you to get out was a 35-cent razor and a tub full of water. You cheap goddamn fucking godforsaken whore, I hope you rot in hell. You're worse than the dirtiest street pig anybody could ever find anywhere, and you know why? You know why? Because you lied. You lied to me and I trusted you.

      [gradually starts losing his composure]

      Paul: You lied and you knew you were lying. Go on, tell me you didn't lie. Haven't you got anything to say about that? You can think up something, can't you? Go on, tell me something! Go on, smile, you cunt!

      [starts crying noticeably]

      Paul: Go on, tell me... tell me something sweet. Smile at me and say I just misunderstood. Go on, tell me. You pig-fucker... you goddamn, fucking, pig-fucking liar.

    • Versioni alternative
      For its original UK cinema release the BBFC suggested cuts to dialogue during the scissors scene and a heavy reduction of the infamous sodomy scene, though the former was rescinded when it was decided that the cuts would be difficult to make without ruining the scene. Instead a proposed cut of 20 secs was required to the sodomy scene to remove shots of Paul smearing butter on Jeanne's buttocks and some overhead shots of sexual thrusting. The latter was also waived following an appeal from the director and instead a mere 10 sec cut was made to the butter smearing. When the OPA (Obscene Publications Act) was extended to cover films a few years later BBFC censor James Ferman waived the cinema cut, and all post-1978 releases (including TV showings) have been the fully uncut version.
    • Connessioni
      Edited into Destricted (2006)
    • Colonne sonore
      Shenandoah
      (uncredited)

      Traditional

      Performed by Marlon Brando

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    Dettagli

    Modifica
    • Data di uscita
      • 16 dicembre 1972 (Italia)
    • Paesi di origine
      • Italia
      • Francia
    • Lingue
      • Inglese
      • Francese
    • Celebre anche come
      • Último tango en París
    • Luoghi delle riprese
      • 1 Rue de l'Alboni, Passy, Paris 16, Parigi, Francia(apartment: tryst)
    • Aziende produttrici
      • Produzioni Europee Associate (PEA)
      • Les Productions Artistes Associés
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 1.250.000 USD (previsto)
    • Lordo Stati Uniti e Canada
      • 36.144.000 USD
    • Lordo in tutto il mondo
      • 36.183.066 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      2 ore 9 minuti
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.85 : 1

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