Penetrate the moody, sensual world of Last Tango in Paris, and prepare yourself for “the most controversial film of its era” (Leonard Maltin). Nominated for two Academy Awards® Director (Bernardo Bertolucci) and Actor (Marlon Brando) and exuding a sexual energy unlike any film before or after, this is the scintillating classic that shocked a nation… and “altered the face of an art form” (Pauline Kael).
He (Brando) is a 45-year old American living in Paris, haunted by his wife’s suicide. She (Maria Schneider, Jane Eyre) is a 20-year-old Parisian beauty engaged to a young filmmaker. Though nameless to each other, these tortured souls come together to satisfy their sexual cravings in an apartment as bare as their dark, tragic lives. Caught up in the frenzied beat of a carnal dance they cannot seem to stop, these unlikely lovers take their passion to erotic heights and depths beyond anything they could ever have imagined. –MGM
Bernardo Bertolucci proved to be Italian cinema’s great prodigy, making his debut The Grim Reaper at the age of 22, and Before the Revolution at the age of 24; achievements comparable to Orson Welles directing Citizen Kane at the age of 25. He was born in Parma in 1940. He initially followed the footsteps of his father Attilio, a noted poet and critic. His poetry received prizes at competitions and a collection of his work was published while he was still a teenager. But his attention was already diverted to the cinema, especially after viewing Godard’s Breathless. His planned transition from poetry to cinema found an accomplice in fellow poet Pier Paolo Pasolini. A family friend, he regarded Bertolucci as a kindred spirit and tasked him as his assistant on his landmark debut, Accattone. The experience, described by Bertolucci as witnessing “the invention of the cinema” further ignited his own ambitions.
The Grim Reaper was based on a story by Pasolini but the resulting film displayed… read more
Brando’s opening cry screams iconic: the nouveau American in Paris but an alien, hauntingly suffocated; Schneider, awash in ermine, the indelible femme (with Léaud’s eternal pup the one jejune third wheel). A lush mise en scene that resurges against the urbanised milieu - an intuitive marriage of ennui, sensuality and form, in Bertolucci’s giddy kinesthesia against the cynical modernity. With a precocious aplomb on his part, Bertolucci salvages passion and fury where Antonioni, with Nicholson’s own displaced Passenger, merely resigned to the futility. Relish.
Una stanza dove il rapporto tra uomo e donna si limita a quello carnale, in tutte le sue forme. Nient'altro: niente nomi, niente storie, niente sentimenti. Ma quando si cerca di uscire da quella situazione, quando si fanno i conti col mondo esterno, il destino della coppia diventa una tragedia morbosa. Il personaggio di Marlon Brando (e il modo in cui lui gli dà vita) è il film.
A kaleidoscopic sample of film music: impossible fantasies, lush atmospheres, epic operas, sophisticated seductions.
The event of the week in film criticism is the arrival of a new issue of Senses of Cinema, featuring a transcript of a talk Tsai Ming-liang
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… read review
(Saturday / February 20, 2010 / 7:00pm)
Marlon Brando can act! Wait, did I say that right? I think I did. The greatest actor of his generation, Brando soars all the way to the top on this one… read review