Last Tango in Paris

1972 [ITALIAN]

Drama / Romance

37
Rotten Tomatoes Critics - Certified Fresh 85%
Rotten Tomatoes Audience - Upright 76%
IMDb Rating 7 10 48210

Synopsis


Uploaded By: FREEMAN
May 09, 2019 at 05:03 PM

Cast

Jean-Pierre Léaud as Tom - un cinéaste, le fiancé de Jeanne
720p.BLU 1080p.BLU
1.03 GB
1280*694
English 2.0
NC-17
23.976 fps
2 hr 9 min
P/S 7 / 48
2.03 GB
1920*1040
English 2.0
NC-17
23.976 fps
2 hr 9 min
P/S 5 / 35

Movie Reviews

Reviewed by murtaza_mma 9 / 10

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/

Reviewed by arichmondfwc 8 / 10

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.

Reviewed by Nazi_Fighter_David 9 / 10

Bertolucci's film shocked many of those who had seen it...

It was, in short, a film about sex and the way that human beings use sex as a refuge, a release, and a weapon… The frank dialog, the nudity, and the simulated sex were not gratuitously employed but were integral to the theme of the film, and if the picture was not totally successful, it was certainly unforgettable…

Marlon Brando appears as a middle-aged American—but not the kind of American in Paris glorified by either George Gershwin or Ernest Hemingway... This is a man tormented by inner conflict... Brando's Paul between self-hatred over his wife's suicide and his feelings for Maria Schneider's Jeanne, she between her adoring documentary filmmaker fiancé (based wittily on Godard) and the taboo-breaking Paul...

The stark, empty flat that is the lovers' retreat from conventional society, and the cold, windy pavement where Paul screams his loathing for the world against the din of a passing train—connects us with the mood of the film...

Eager to escape the oppressive walls of his dark life, Paul embarks on a very complete sexual experience with a willing young woman in which there is no history spoken, no promises of future liaisons, no ties of any kind with the outside...

The two lovers know nothing of each other, not even their names... Their affair is purely physical, and the barren apartment becomes, as Bertolucci intended, a world of debauchery on which is explored a catalog of behavior that seems more childish than kinky...

Jeanne is a child-woman... She asks what she should call Paul, and they proceed to give themselves names brought only out of grunts, growls and screeches... Paul's cruelty is not justified and perhaps this is what attracts the modish girl... Some scenes emotionally are so provocative that you experience a wide range of feelings... Paul never asks Jeanne a direct question, but is constantly framing her for his next experiment, besides he assaults her, humiliates her and pushes her over the edge... There is one great moment for the heroine when she refuses Paul's power play and is equally unimpressed by his new declarations of love... She insists: 'It's over!'

The film is beautifully shot... The cinematography is unique, somber, shadowy and painterly... It presents despair, and the music reinforce the despairing mood... The movie is also intensely erotic, intensely realistic, immensely disturbing... The extreme frankness makes faintly uncomfortable viewing, not only because of its sexual material but because of its exploration of our inner nature with true perspective... Hopefully, younger viewers can turn their minds back to a time when sex was mysterious and beautiful; dangerous and daring; not just easy and transitory... Sex nearly always implies intimacy, but doesn't always provide it...

'Last Tango in Paris' is one of the great explorations of cinema's visual possibilities… Bertolucci camera's movements throughout the film characterize the rights steps of the tango which the two main characters execute at the climax of the film... We feel swept away by the beauty of the tango despite the tragic quality of the acts and events it escorts... The film does prove Bertolucci to be a true filmmaker capable of the audacity of Jean-Luc Godard and the distinctive style of Ingmar Bergman...

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