Bernardo Bertoluci's "Last Tango in Paris" is a beautiful art-house movie that features one of Marlon Brando's finest performances. He plays Paul, an enigmatic American drawn to France after the recent suicide of his wife. While there, he encounters Jeanne, whom he soon begins to have an affair with. However, they do not reveal anything about themselves and the relationship is based solely on sex.Jeanne is engaged to Tom, a film director making a documentary of sorts about her. She questions her own love for Tom as she finds herself more and more drawn to Paul."Last Tango in Paris" or "Ultimo tango a Parigi" was released in 1972 to much hoopla. Critics loved it but the American censors despised it and it somehow gained a reputation of being a "smut film." It's actually a deep and provocative statement about two people from different backgrounds who fall in love despite trying not to. Their anonymity with each other only makes it all the more difficult.Brando delivers a stunning performance and Maria Schneider is quite convincing in what must have been a very demanding role.This isn't a flawless film but it is very good and offers more than just the average "t&a" the genre has come to be known for."Last Tango in Paris" has been copied a few times over the years - most noticeably with films such as "9 1/2 Weeks" and "Intimacy." However, this is still one of the best "erotic" dramas out there.
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They only told me about it before we had to film the scene and I was so angry. I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie', but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologize. Thankfully, there was just one take.[10]
Film critic Pauline Kael endorsed the film,[49] writing that "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."[28] She called it "the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made."[50] United Artists reprinted the whole of Kael's rave as a double-page advertisement in the Sunday New York Times. Kael's review of Last Tango in Paris is regarded as the most influential piece of her career.[51]
"Last Tango" premiered, in case you have forgotten, on Oct. 14, 1972. It did not quite become a landmark. It was not the beginning of something new, but the triumph of something old - the "art film," which was soon to be replaced by the complete victory of mass-marketed "event films." The shocking sexual energy of "Last Tango in Paris" and the daring of Marlon Brando and the unknown Maria Schneider did not lead to an adult art cinema. The movie frightened off imitators, and instead of being the first of many X-rated films dealing honestly with sexuality, it became almost the last. Hollywood made a quick U-turn into movies about teenagers, technology, action heroes and special effects. And with the exception of a few isolated films like "The Unbearable Lightness of Being" and "In the Realm of the Senses," the serious use of graphic sexuality all but disappeared from the screen.
The ending. The scene in the tango hall is still haunting, still part of the whole movement of the third act of the film, in which Paul, having created a searing moment out of time, now throws it away in drunken banality. The following scenes, leading to the unexpected events in the apartment of Jeanne's mother, strike me as arbitrary and contrived. But still Brando finds a way to redeem them, carefully remembering to park his gum before the most important moment of his life.
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