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Last Tango in Paris (Italian: Ultimo tango a Parigi) is a 1972 Italian-French erotic drama film directed by Bernardo Bertolucci which portrays a recently widowed American who begins an anonymous sexual relationship with a young Parisian woman. It stars Marlon Brando, Maria Schneider, and Jean-Pierre Léaud.

Last Tango in Paris
Theatrical release poster
Directed byBernardo Bertolucci
Produced byAlberto Grimaldi
Screenplay by
  • Bernardo Bertolucci
  • Franco Arcalli
  • Dialogue:
  • Agnès Varda
  • Jean-Louis Trintignant
Story byBernardo Bertolucci
Starring
  • Marlon Brando
  • Maria Schneider
  • Jean-Pierre Léaud
Music byGato Barbieri
CinematographyVittorio Storaro
Edited by
  • Franco Arcalli
  • Roberto Perpignani
Production
company
Produzioni Europee Associati (PEA)
Les Productions Artistes Associés
Distributed byUnited Artists
Release date
  • 14 October 1972 (1972-10-14) (NY)
  • 15 December 1972 (1972-12-15) (FRA/ITA)
  • 7 February 1973 (1973-02-07) (US)
Running time
129 minutes (original NC-17/X-rated version)
250 minutes (rough cut)
Country
  • Italy
  • France
Language
  • English
  • French
Budget$1.25 million
Box office$96.3 million

The film's raw portrayal of sexual violence and emotional turmoil led to international controversy and drew various levels of government censorship in different venues. Upon release in the United States, the most graphic scene was cut and the MPAA gave the film an X rating. After revisions were made to the MPAA ratings code, in 1997 the film was re-classified NC-17 for "some explicit sexual content". Metro-Goldwyn-Mayer released a censored R-rated cut in 1981.

Screenplay

Paul (Marlon Brando), a middle-aged American hotel owner mourning his wife's suicide, meets a young, engaged Parisian woman named Jeanne (Maria Schneider) at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that neither of them must share any personal information, even given names. The affair continues until one day, Jeanne arrives at the apartment and finds that Paul has packed up and left without warning.

Paul later meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her back to her apartment, where he tells her he loves her and wants to know her name.

Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, a dazed Jeanne mutters to herself that he was just a stranger who tried to rape her and she did not know who he was, as if in a rehearsal, preparing herself for questioning by the police.

  • Marlon Brando as Paul, an American expatriate and hotel owner
  • Maria Schneider as Jeanne, a young Parisian woman
  • Jean-Pierre Léaud as Thomas, a film director and Jeanne's fiancé
  • Maria Michi as Rosa's mother
  • Massimo Girotti as Marcel, Rosa's former lover
  • Giovanna Galletti as the prostitute, an old acquaintance of Rosa
  • Catherine Allégret as Catherine, a maid at Paul and Rosa's hotel
  • Gitt Magrini as Jeanne's mother
  • Luce Marquand as Olympia, Jeanne's former childhood nurse
  • Dan Diament as the TV sound engineer
  • Catherine Sola as the script girl
  • Mauro Marchetti as the TV cameraman
  • Peter Schommer as the TV assistant cameraman
  • Catherine Breillat as Mouchette, a dressmaker
  • Marie-Hélène Breillat as Monique, a dressmaker
  • Darling Légitimus as the Concierge
  • Veronica Lazar as Rosa, Paul's deceased wife
  • Armand Abplanalp as the prostitute's client
  • Rachel Kesterber as Christine
  • Ramón Mendizábal as the Tango orchestra leader
  • Mimi Pinson as the President of Tango jury
  • Gérard Lepennec as the tall furniture mover
  • Stéphane Koziak as the short furniture mover
  • Michel Delahaye (scenes deleted) as the Bible salesman
  • Laura Betti (scenes deleted) as Miss Blandish
  • Jean-Luc Bideau (scenes deleted) as the Barge Captain
  • Gianni Pulone (scenes deleted)
  • Franca Sciutto (scenes deleted)
 
The Pont de Bir-Hakeim in Paris, where numerous scenes were shot.

Bernardo Bertolucci developed the film from his sexual fantasies: "He once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was". The screenplay was by Bertolucci, Franco Arcalli, and Agnès Varda (additional dialogue). It was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro.

Bertolucci originally intended to cast Dominique Sanda, who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant and decided not to do the film.

An art lover, Bertolucci drew inspiration from the works of the Irish-born British artist Francis Bacon for the opening sequence of cast and crew credits. According to American artist Andy Warhol, the Last Tango film was based on Warhol's own Blue Movie film released a few years earlier in 1969.

After the film's release, criminal proceedings were brought in Italy against the film for "esasperato pansessualismo fine a se stesso"("aggravated, gratuitous pansexualism"). The final judgment of the Court of Appeal (Cassazione) delivered on 29 January 1976 ordered that the film be seized by the censorship commission and that all copies be destroyed. Scriptwriter Franco Arcalli, producer Alberto Grimaldi, director Bernardo Bertolucci, and Marlon Brando were each given suspended sentences of two months imprisonment.

Rape scene

The film contains a scene in which Brando's character anally rapes Schneider's character using butter as a lubricant. In a 2006 interview, Schneider said that the scene was not in the script and that "when they told me, I had a burst of anger. Woo! I threw everything. And nobody can force someone to do something not in the script. But I didn't know that. I was too young". In 2007, Schneider recounted feelings of sexual humiliation pertaining to the rape scene:

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 apologise. Thankfully, there was just one take.

Schneider also said that making the film "ruined her life" and was her life's only regret, and that she considers Bertolucci a "gangster and a pimp". In 2011, Bertolucci denied that he "stole her youth" (she was 19 at the time of filming), and commented, "The girl wasn't mature enough to understand what was going on." Schneider remained friends with Brando until his death in 2004, but never made up with Bertolucci. She also claimed that Brando and Bertolucci "made a fortune" from the film while she made very little money.

Schneider died in 2011. In February 2013, Bertolucci spoke about the film's effect on Schneider on the Dutch television show College Tour. In the interview, Bertolucci clarified that although the rape scene was in the script, the detail of using butter as a lubricant was improvised the day of shooting and Schneider did not know about the use of the butter beforehand. Bertolucci said that "I feel guilty, but I don't regret it." In September 2013, Bertolucci spoke again about the scene at a retrospective at the Cinémathèque Française, claiming that the scene was in the script but the use of butter was not. Bertolucci said that he and Brando "decided not to say anything to Maria to get a more realistic response".

In November 2016, a slightly different version of the 2013 College Tour interview was uploaded to YouTube by the Spanish nonprofit El Mundo de Alycia on the International Day for the Elimination of Violence against Women. accompanied by a statement concluding that the scene "abused psychologically and, who knows if also, physically..." This gained attention when Yahoo! Movies writer Tom Butler wrote an article about it prompting several celebrities to condemn the film and Bertolucci and a number of newspapers picked up on the story, reporting that Bertolucci had "confessed" to Schneider being raped on set, prompting Bertolucci to release a statement, clarifying that a simulation and not an actual intercourse took place.

Bertolucci also shot a scene which showed Brando's genitals, but in 1973 explained, "I had so identified myself with Brando that I cut it out of shame for myself. To show him naked would have been like showing me naked." Schneider declared in an interview that "Marlon said he felt raped and manipulated by it and he was 48. And he was Marlon Brando!". Like Schneider, Brando confirmed that the sex was simulated. Bertolucci said about Brando that he was "a monster as an actor and a darling as a human being". Brando refused to speak to Bertolucci for 15 years after the production was completed.

I was thinking that it was like a dialogue where he was really answering my questions in a way. When at the end of the movie, when he saw it, I discovered that he realized what we were doing, that he was delivering so much of his own experience. And he was very upset with me, and I told him, "Listen, you are a grown-up. Older than me. Didn't you realize what you were doing?" And he didn't talk to me for years.

However;

I called him one day in '93, I think, I was in LA and my wife was shooting a movie. First of all, he answered the phone, and he was talking to me like we had seen each other a day earlier. He said, "Come here." I said, "When?" He said, "Now." So I remember driving on Mulholland Drive to his home and thinking I think I won't make it, I think I will crash before . I was so emotional.

Francis Bacon influence

 
Double Portrait of Lucian Freud and Frank Auerbach (left side, oil on canvas, 1964)

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