All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Last Tango in Paris
Bernardo Bertolucci's Landmark Film
A young Parisian woman begins a sordid affair with a middle-aged American businessman whom lays out ground rules that their clandestine relationship will be based only on sex.
Gives a whole new definition to the phrase 'to butter someone up'
Guess philosophical porn just ain't my thing.
Last Tango in Paris, the infamous psychosexual drama from Bernardo Bertolucci, upset conservatives in 1972 when it came out but is tame by today's standards.
Marlon Brando rents a small apartment and begins an anonymous affair with a much younger Parisian woman (Maria Schneider). His wife's recent suicide has led him to conclude his marriage was a sham built on falsehoods. Determined to separate sex from intimacy (or truth from illusion), Brando insists on total anonymity, which intensifies their liaison and allows them to harbour an idealised notion of one another.
Tango includes two principle sex scenes that are shocking only in terms of Brando's outward aggression toward Schneider (the camera pays much attention to her smooth legs, lolling breasts…
Graphic and uncompromising Bertolucci's masterpiece, not for the faint of heart or easily offended. Marvelous acting and direction make of this an exquisite piece of art to enjoy several times. Lust, passion, intoxicating existentialism and experimental filmmaking is today's strong dish, accompanied by a forbidden, Platonic steamy affair.
Last Tango in Paris tells the story of a 45-year-old American man (Marlon Brando) and a 20-year-old French woman (Maria Schneider) who meet by chance and become involved in a sexual relationship. He demands that they reveal nothing about themselves—not even their names. In their "real" lives away from each other, they are confronted with major life changes. He deals with his wife's death, and she becomes engaged to her young boyfriend (Jean-Pierre Léaud). The more difficult their real lives become, the more they need to be together in their secret apartment where they have no name.
The film was considered sexually explicit and vulgar when it was released in 1972. By today's standards, it contains little that will shock…
How do I even begin to talk about this movie? The high I felt after seeing it has not subsided; I still feel as if I were standing on God’s scalp, my arms outstretched, everything a dazed blur, a colorful whirl. I have never had a more ecstatic experience watching a movie in the theater – and while I am on this note, let me express how grateful I am that there are still theaters which show masterpieces like Bernardo Bertolucci’s “Last Tango in Paris.” Because there is nothing, absolutely nothing, that can ever replace the moment when the lights go down and the screen erupts into life, and the world – with all its paradox, confusion, striving, failure –…
For all the controversy apparently surrounding the content in Bertolucci's film, it's surprisingly tame by today's standards. Though the shock of the illicit rendezvous between the two leads may have been replaced by lingering questions regarding whether Paul rapes Jeanne in one or two scenes. Another surprise to me was how un-erotic the film actually was. To me it had always been described as dripping with lust and permeating with pleasure (Pauline Kael's famous review regarding the atmosphere at the premiere screening comes to mind) but to me at least it felt very cold. I could feel the passion emanating from Brando's Paul but not passion of lust but something far rawer and angrier. The scene where he's at his…
Very good one, Brando was great, the music was great, i liked it.
April Scavenger Hunt | Film #28, Task #25
A modernist film.
Plotless, Pretentious Psychological Porn? A way too long film about almost nothing. Released in the same year as The Godfather, showing two very different Brando's. He's an outstanding actor, and even in this mediocre production he manages to impress, but he couldn't save the film. Neither could Maria Schneider, who spent most of her screen time completely undressed. Meh.
Mmmh è difficile, e non ho le idee chiare a riguardo. Per farmi capire dirò che appena finito il film non ho provato nessuna emozione particolare, se non l'ammirazione per la qualità "tecnica" del girato (luci, scenografia ecc...), d'altra parte però i commenti negativi che tacciano il film di superficialità e mancanza di connessione empatica con i protagonisti (ma con due protagonisti così, come sarebbe possibile? [almeno per il 95% delle persone, dico]) mi infastidiscono, e non so perché. Da rivedere.
Per ora un 3 e mezzo che diventa 4 perché Storaro is in da house.
A listless, pretentious film that meanders on for way too long and is redeemed only by Marlon Brando's tremendous lead performance, perhaps the best he's ever given on screen.
Maria Schneider is a blank slate at best, both the actress and the character she plays. Her animal ruttings with Brando are supposed to be shocking and titillating, or at least were meant to shock and titillate a 1972 audience, but they seem now like desperate attempts to give the audience something that will engage its collective interest. It really is astounding that such a pointless movie could have such a wonderful performance in it, and for Brando alone this film is worth watching. But as for the rest, consider yourself warned.
Movies like "Last Tango in Paris" are the reason why so many people hate international cinema.
Film # 10 of the "Scavenger Hunt # 13" Challenge
Task # 25: A modernist film
Before I saw “Last Tango in Paris” I heard a lot of controversy about this film and read positive reviews, with an exception here and there. Well, I’m the exception too, because although I wanted to like this film, I truly didn’t. It looks good, but I can’t consider it a classic.
First, the plot. There is none. They get away with it because of the great performance by Marlon Brando. But the characters are not likeable and I couldn’t relate to any of them. And the dialogues sometimes felt silly to me.
Brando has done some great films and I love…
Wow. My emotions hurt.
An explosive examination of the folly of man, Bernardo Bertolucci’s Last Tango in Paris takes us on the violent descent of the passionate relationship between Marlon Brando’s Paul and Maria Schneider’s Jeanne. Brando is perfectly cast, the defining figure of screen masculinity, with Schneider his obscure object of desire. Paul and Jeanne meet at an apartment and begin a relationship founded on sexual desire, exploring one another’s bodies in a myriad of ways, while Paul refuses to acknowledge Jeanne’s existence outside of that space. Bertolucci delivers a brutal critique of that ultimate male fantasy, a woman who exists purely for sexual pleasure with no inner life of her own, someone who you can retreat from all of your grief and…
I am shocked and appalled!
I wanted Argentinian dancing and instead I get Marlon Brando!
What has the world come to?
Beautiful, disturbing, sordid and celebratory all bundled together into one confusing package that will definitely warrant a second viewing.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…