Marlon Brando and Maria Schneider star in Bernardo Bertolucci’s controversial LAST TANGO IN PARIS
CINÉSALON: LAST TANGO IN PARIS (ULTIMO TANGO A PARIGI) (Bernardo Bertolucci, 1972)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, November 4, $13, 4:00 & 7:30
212-355-6100
www.fiaf.org
One of the most artistic films ever made about seduction, Bernardo Bertolucci’s controversial X-rated Last Tango in Paris kicks off the French Institute Alliance Française’s CinéSalon series “The Art of Sex and Seduction” on November 4. Written by Bertolucci (The Conformist, The Spider’s Stratagem) with regular collaborator and editor Franco Arcalli and with French dialogue by Agnès Varda (Le Bonheur, Vagabond), the film opens with credits featuring jazzy romantic music by Argentine saxophonist Gato Barbieri and two colorful and dramatic paintings by Francis Bacon, “Double Portrait of Lucian Freud and Frank Auerbach” and “Study for a Portrait,” that set the stage for what is to follow. (Bacon was a major influence on the look and feel of the film, photographed by Vittorio Storaro.) Bertolucci then cuts to a haggard man (Marlon Brando) standing under the Pont de Bir-Hakeim in Paris, screaming out, “Fucking God!” His hair disheveled, he is wearing a long brown jacket and seems to be holding back tears. An adorable young woman (Maria Schneider) in a fashionable fluffy white coat and black hat with flowers passes by, stops and looks at him, then moves on. They meet again inside a large, sparsely furnished apartment at the end of Rue Jules Verne that they are each interested in renting. Both looking for something else in life, they quickly have sex and roll over on the floor, exhausted. For the next three days, they meet in the apartment for heated passion that the man, Paul, insists include nothing of the outside world — no references to names or places, no past, no present, no future; the young woman, Jeanne, agrees. Their sex goes from gentle and touching to brutal and animalistic; in fact, after one session, Bertolucci cuts to actual animals. The film is nothing if not subtle.
Jeanne (Maria Schneider) and Paul (Marlon Brando) share a private, sexual relationship in LAST TANGO IN PARIS
The lovers’ real lives are revealed in bits and pieces, as Paul tries to recover from his wife’s suicide and Jeanne deals with a fiancée, Thomas (Jean-Pierre Léaud), who has suddenly decided to make a film about them, without her permission, asking precisely the kind of questions that Paul never wants to talk about. When away from the apartment, Jeanne is shown primarily in the bright outdoors, flitting about fancifully and giving Thomas a hard time; in one of the only scenes in which she’s inside, Thomas makes a point of opening up several doors, preventing her from ever feeling trapped. Meanwhile, Paul is seen mostly in tight, dark spaces, especially right after having a fight with his dead wife’s mother. He walks into his hotel’s dark hallway, the only light coming from two of his neighbors as they open their doors just a bit to spy on him. Not saying anything, he pulls their doors shut as the screen goes from light to dark to light to dark again, and then Bertolucci cuts to Paul and Jeanne’s apartment door as she opens it, ushering in the brightness that always surrounds her. It’s a powerful moment that heightens the difference between the older, less hopeful man and the younger, eager woman. Inevitably, however, the safety of their private, primal relationship is threatened, and tragedy awaits.
Jeanne and Paul develop a complicated sexual relationship in LAST TANGO
“I’ve tried to describe the impact of a film that has made the strongest impression on me in almost twenty years of reviewing. This is a movie people will be arguing about, I think, for as long as there are movies,” Pauline Kael wrote in the New Yorker on October 28, 1972, shortly before Last Tango closed the tenth New York Film Festival. “It is a movie you can’t get out of your system, and I think it will make some people very angry and disgust others. I don’t believe that there’s anyone whose feelings can be totally resolved about the sex scenes and the social attitudes in this film.” More than forty years later, the fetishistic Last Tango in Paris still has the ability to evoke those strong emotions. The sex scenes range from tender, as when Jeanne tells Paul they should try to climax without touching, to when Paul uses butter in an attack that was not scripted and about which Schneider told the Daily Mail in 2007, “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 apologise. Thankfully, there was just one take.” At the time of the shooting, Brando was forty-eight and Schneider nineteen; Last Tango was released between The Godfather and Missouri Breaks, in which Brando starred with Jack Nicholson, while Schneider would go on to make Michelangelo Antonioni’s The Passenger with Nicholson in 1975. Brando died in 2004 at the age of eighty, leaving behind a legacy of more than forty films. Schneider died in 2011 at the age of fifty-eight; she also appeared in more than forty films, but she was never able to escape the associations that followed her after her breakthrough performance in Last Tango, which featured extensive nudity, something she refused to do ever again. Even in 2014, Last Tango in Paris is both sexy and shocking, passionate and provocative, alluring and disturbing, all at the same time, a movie that, as Kael said, viewers won’t easily be able to get out of their system.
Last Tango in Paris is being shown at FIAF on November 4 at 4:00 and 7:30, with the later screening introduced by New School philosophy professor Simon Critchley and followed by a wine reception; the series continues Tuesdays through December 16 with Pascale Ferran’s Lady Chatterley introduced by Catherine Cusset, François Ozon’s Swimming Pool introduced by Ry Russo-Young, Alain Guiraudie’s Stranger by the Lake introduced by Alan Brown, Catherine Breillat’s The Last Mistress introduced by Melissa Anderson (Breillat also appears as Mouchette in Last Tango), and François Truffaut’s The Man Who Loved Women introduced by Laura Kipnis. There will also be talks, panel discussions, Jean-Daniel Lorieux’s “Seducing the Lens” photography exhibition, and other programs as part of “The Art of Sex & Seduction.”