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Ultimo tango a Parigi

  • 1972
  • VM18
  • 2h 9min
VALUTAZIONE IMDb
6,8/10
61.189
LA TUA VALUTAZIONE
POPOLARITÀ
2267
279
Marlon Brando and Maria Schneider in Ultimo tango a Parigi (1972)
Theatrical Trailer from 20th Century Fox
Riproduci trailer1: 31
3 video
99+ foto
DrammaRomanticismoRomanticismo eroticoTragedia

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
    61.189
    LA TUA VALUTAZIONE
    POPOLARITÀ
    2267
    279
    • 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
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    Visualizza poster
    + 271
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    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

    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
    9murtaza_mma

    A Potpourri of Vestiges Review: Bertolucci's requiem for unrequited Love

    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

    http://www.apotpourriofvestiges.com/
    7haasxaar

    Maria Schneider's face summarises this film perfectly

    Schneider's looks can dutifully encapsulate my true emotions to this film. Occasionally she looks sexy and encaptivating, other times she can look too pale and a little bland. That's exactly how Bertolucci's helping of sexual cravings had me feeling after this film.

    Habitually, Bertolucci's work eclipses genius - he is one of the few directors in world cinema that has an eye for definitive detail. He can capture such beautiful images, with such great vision, emotion, colour and panache that the viewer's sentiments are guided like few others in film-making. Like aforementioned, Schneider's face would be the perfect simile for this particular film. One scene the viewer is startled by the raw depth of the film, although slightly troubled by the explicit sex, but then all the viewer is treated to in the next scene is a terse and awkward moment which seems to have no correlation with the one that preceded it.

    Naturally Brando's performance did help boost this film greatly, but that seems the film's very weakness - whenever he is off-camera it seems to struggle too much, it loses its power and prestige and becomes a little incoherent. This film undoubtedly has some powerful and poignant scenes that really can convey genuine sentiment and exude a tangible originality too; but it never really seems to shake off the loss of Brando's presence altogether.

    For admirers of Bertolucci its a must, but for more neutral cineastes it would be advisable to have a more cautious approach when watching this film - to enjoy it, it would be paramount to expect this film to be an edifying, not an entertaining experience; its not a frivolous subject matter in any sense
    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...
    DC1977

    Brando's most personal film

    Widely denounced as obscene upon its release and unjustifiably notorious for two of its scenes, Bernardo Bertolucci's 'Last Tango in Paris' is a savage story of lust and sexual debasement.

    Marlon Brando delivers a ferocious performance as Paul, a middle-aged American expatriate tormented by his wife, Rosa's recent suicide, her infidelities and his failure to understand their relationship. In meeting a 20 year old girl, Jeanne, played by Maria Schneider, in an empty apartment, Paul hopes to form a relationship purely on his own terms and at his own pace, i.e. one he can understand fully. He insists on a new form of relationship, so basic that even their names were kept secret from each other, where she submitted to his every desire, where he could punish himself and relieve his despair and anger towards his wife by punishing Jeanne. Paul's only other interest is in Marcel (Massimo Girotti), Rosa's lover, for whom he has a curious respect and maybe a desire to obtain through him a better understanding of his own wife.

    Despite his overpowering talent, Marlon Brando has often shown poor judgement in his choice of projects and has frequently trudged through films with no apparent effort or interest. In 'Last Tango in Paris' he gives everything and produces a performance of unrivalled force. Unfortunately the obvious improvisation in the film prevents the character of Paul from staying within check as he gradually becomes too much like Marlon Brando in the second half of the film. Nonetheless, when Brando is off-screen the film becomes hollow in comparison and is replaced by Jeanne's relationship with her fiance, an annoyingly pretentious TV director (Jean-Pierre Leaud).

    This is a truly unique film and Bertolucci successfully highlights the romance in an affair that is fundamentally destructive. Brando's performance is remarkably powerful and intense, eclipsing every other player and dominating the entire film.

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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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