Last Tango in Paris (1972)

Featured Audience Ratings

• Jim H

  
  A widower hooks up with a young Parisian who is pursued by a man who conflates his art with his personal life. In a career of gritty, realistic performances, Marlon Brando's work in Bernardo Bertolucci's Last Tango in Paris is among his best. The scene in which he confronts… More
  A widower hooks up with a young Parisian who is pursued by a man who conflates his art with his personal life. In a career of gritty, realistic performances, Marlon Brando's work in Bernardo Bertolucci's Last Tango in Paris is among his best. The scene in which he confronts his wife's corpse reminded me of Jack Nicholson's "I'd almost marry you if you leave me" from Carnal Knowledge, but Brando's performance comes from a greater, deeper well of self-loathing than Nicholson, who can probably never forget the fact that he's Jack Nicholson; Marlon Brando in his prime -- and this is his prime -- can forget that he's Marlon Brando, and I did too. The rape scene, his myopic view of sex, and his overwhelming screen presence carry this film. His co-star, Maria Schneider, barely keeps up with Brando, and her scenes with Jean-Pierre Leaud aren't nearly as compelling as Brando's; although, Leaud does have a moment that reminded me of his best scene in the Antoine Doinel films. The ending was emotionally compelling but senseless and unmotivated. In fact, the writing of Jeanne's character lacks a thought-out character arc; she remains undeveloped, and that's not all Schneider's fault. Overall, this is a great, gritty, intense drama with some of Brando's best work.

• Steven C

  
  Bernardo Bertolucci's "Last Tango in Paris" is still as controversial and challenging as it was when it debuted in 1972. This is a film that will mean many different things to each viewer. For me, this was very much a film about romance and how to create it when you can… More
  Bernardo Bertolucci's "Last Tango in Paris" is still as controversial and challenging as it was when it debuted in 1972. This is a film that will mean many different things to each viewer. For me, this was very much a film about romance and how to create it when you can never truly know another person (among, many other things, obviously). Marlon Brando and Maria Schneider are incredible in this film, delivering brave, unflinching and psychologically complex performances. The cinematography and sound design are also noteworthy, helping suck the viewer into this unknown world. Weather you 'get' the film or not, "Last Tango in Paris" is an unforgettable and harrowing experience.

• AJ V

  
  A very 70s romantic drama, it's sad and strange, but good.

• Cassandra M

  
  Widely denounced as obscene upon its release and unjustifiably notorious for two of its scenes, Bernardo Bertolucci's 'Last Tango in Paris' is a savage story of lust and sexual debasement. Marlon Brando delivers a ferocious performance as Paul, a middle-aged American… More
  Widely denounced as obscene upon its release and unjustifiably notorious for two of its scenes, Bernardo Bertolucci's 'Last Tango in Paris' is a savage story of lust and sexual debasement. Marlon Brando delivers a ferocious performance as Paul, a middle-aged American expatriate tormented by his wife, Rosa's recent suicide, her infidelities and his failure to understand their relationship. In meeting a 20 year old girl, Jeanne, played by Maria Schneider, in an empty apartment, Paul hopes to form a relationship purely on his own terms and at his own pace, i.e. one he can understand fully. He insists on a new form of relationship, so basic that even their names were kept secret from each other, where she submitted to his every desire, where he could punish himself and relieve his despair and anger towards his wife by punishing Jeanne. Paul's only other interest is in Marcel (Massimo Girotti), Rosa's lover, for whom he has a curious respect and maybe a desire to obtain through him a better understanding of his own wife. Despite his overpowering talent, Marlon Brando has often shown poor judgement in his choice of projects and has frequently trudged through films with no apparent effort or interest. In 'Last Tango in Paris' he gives everything and produces a performance of unrivalled force. Unfortunately the obvious improvisation in the film prevents the character of Paul from staying within check as he gradually becomes too much like Marlon Brando in the second half of the film. Nonetheless, when Brando is off-screen the film becomes hollow in comparison and is replaced by Jeanne's relationship with her fiance, an annoyingly pretentious TV director (Jean-Pierre Leaud). This is a truly unique film and Bertolucci successfully highlights the romance in an affair that is fundamentally destructive. Brando's performance is remarkably powerful and intense, eclipsing every other player and dominating the entire film.

• Derek D

  
  Hardly a classic, this film was just way too strange to truly enjoy...that and the back-and-forth French/English dialogue. A treat to see Brando at work, but that's about it.

• Veronique K

  
  "last tango in paris" is marlon brando's self-reviving strike before he officially steps into his senile years of obesity, and his character in tango feels literily like the aging version of stanley kowaski of "streetcar named desire": prole stud with a… More
  "last tango in paris" is marlon brando's self-reviving strike before he officially steps into his senile years of obesity, and his character in tango feels literily like the aging version of stanley kowaski of "streetcar named desire": prole stud with a simmering violent streak which detonates thru his sadistic libido. stanley shuts "stella!!!" in his most fragile moment and ravishes vivien leigh's blanche to exercise his strong urge of masculine dominion since he senses the contagious menace blanche puts over his enslavened wife. as elia karzan who directs several of brando's movies, such as "on the waterfront" and streetcar, comments that brando has a very tenderized feminine side conflicted with a sort of melancholy and disatisfaction which could be very dangerously explosive. "last tango in paris" shall be a perfect set to channel such brandoesque spirit by its deranged exploration of spotaneous roller-coaster sex as well as the existentialistic tale of bleakness. the story is about a 20-something parisian woman who encounters a middle-aged american in a desolate apartment in slums, and at the spur of the moment these two mate in an animalistic way which is very close to sanctuary rape. somehow there's an undercurrent magnetism which keeps pulling these two back into this apartment as an oblivious vaccum of random sex as well as the retreat of their primitive intimacy to forget their private problems of life. then we discover the man's wife has committed suicide and he's under a fundamental crisis of abysmal mentality since he has no idea why his wife leaves him for good without a final note. on the other hand, the young parisian woman's fiance is a self-centered movie-maker who has emoitonally deserted and ignored her, so in a way, she's lonesome and in the need of attention despite her functional facade. so this un-usual pair unite together under the circumstance of not knowing each other's name in a wretched world of sadness. their intercourses are not genuine lovemaking but a result of the man's manipulated flaunt of manhood and the woman's side is more of a morbid curiosity for racy experiements, such as the notorious butter scene of anal sex and the fingering sodomy. what counts is their interactions driven by dialogues. they bares a sort of existentialistic anxiety out of their seperate conditions, and they crave for a space of temporality intagible to the reality. it digs into their memories of childhood to summon up their truest childish selves. this otherworldy dimension of temporality is shattered when the girl eventually meets the man outside the apartment, and this unique romance is over when brando's sleazy banal self's exposed under the blistering sunlight of cruel reality, her heart flees away despite the man vows to capture her again as his prey. the moment he finally acquires her name, he's shot into the un-comprehesibly ironic death while she keeps mumbling to herself that "he's a stranger, i never met him, he broke into my apartment trying to rape me, so i shot him" as if their passionate redenzvou never happens. the aged brando with thining hair is no longer the powerful irresistible stanley kowaski who robs his woman back by an overwhelming snarl. and this time he's destined to lose the girl as youth and strength slip away from him no matter how desperately he attempts to keeps them. our existence may just be like that, an deliberated oblivion of constant denials due to our weakness to cope with death and the annihilation of beings.

• Chris W

  
  One of the most perplexing and complex, and emotonally gruelling films I've seen in quite a while...possibly of of the most challenging films I've ever seen period. Like many films, this films is far from being about what it's about. If anything, it's about torment… More
  One of the most perplexing and complex, and emotonally gruelling films I've seen in quite a while...possibly of of the most challenging films I've ever seen period. Like many films, this films is far from being about what it's about. If anything, it's about torment and abuse (on multiple levels), grief, and disillusionment. The performances are perfect. The viewer ends up hating Brando, but all that means is that he did the job he was supposed to. Aside from the acting, the best things about it are the music and cinematography: both are simply indescribable in their amazingness. The film is a great work of art, but it's not without its flaws. It's a little too inaccessible, too pretentious, self important, slow and ponderous in places, out there, and "arty". Even then though, it earns the grade I give it just because of how powerful and compelling it all is. A-

• Robert C

  
  One of those films that is often referenced and that any "film buff" feels obliged to watch. I can totally appreciate Bertolucci's idea for this film. The idea of a sort of erotic rendezvous that starts out as a (purely sexual) series of anonymous encounters with a… More
  One of those films that is often referenced and that any "film buff" feels obliged to watch. I can totally appreciate Bertolucci's idea for this film. The idea of a sort of erotic rendezvous that starts out as a (purely sexual) series of anonymous encounters with a girl/man that you know nothing about but find yourself physically attracted to. The simplicity of that premise, involving nothing more then pleasure has a certain "erotic fantasy" appeal. But when you dig a little deeper and factor into this the equation the fact that both of the people involved in this little "arrangement" are already emotionally attached to others (and seemingly mentally unstable)...it is a recipe for disaster. The two main characters are emotional wrecks, which I think is essentail to this particular version of an "erotic fantasy" gone awry. But what bothered me most was the constant feeling that (when they were together) she was there against her will. The sex often felt very masochistic and had she not been so young, it might have been easier to think that she was just "into that", rather then "he's taking advantage of her". I had to keep reminding myself that she returned each time on her own. I feel that what could have been an erotic, emotional and heartbreaking piece...ends up feeling a bit disjointed and (quite frankly) disturbing. The question is...was that Bertolucci's goal? So in a nut shell, it think it works on some levels but overall...what could have been a really powerful film ends up coming across as more self-indulgent then anything else.

• Saskia D

  
  Wow, I expected a romantic flick, but this one had an edge! What I loved about the first part is that you don't know what the hell is going on, but slowly the pieces fall into place. Damn, Brando is amazing in this movie, he's a pig, but it makes him irresistible. The only… More
  Wow, I expected a romantic flick, but this one had an edge! What I loved about the first part is that you don't know what the hell is going on, but slowly the pieces fall into place. Damn, Brando is amazing in this movie, he's a pig, but it makes him irresistible. The only weak part it has, are the scenes where Jeanne (Schneider) is starring in this weak ass movie her so called boyfriend is shooting. Although it might serve as a counterweight to the anonymous relations she has with Paul (Brando), for me it was an ongoing interruption of the rest of the movie. <div style="width:660px;"><a href="http://www.flixster.com/movie/ultimo-tango-a-parigi-last-tango-in-paris-photos/-6353635"><img src="http://content9.flixster.com/photo/63/53/63/6353635_gal.jpg" border="0"/></a><div style="text-align:center;font-size:10px;"><a href="http://www.flixster.com">

• Arash X

  
  Bertolucci's masterpiece

• Pierluigi P

  
  Sultry, dark and decadent picture about loneliness. wonderful photography and marvelous Brando.

• Tim S

  
  Bertolucci's kind of a deviant.

• Stuart B

  
  Marlon Brando as a sex machine.... NO!!!!!!!!!!!!!

• Kalel J

  
  Another powerhouse performance by Marlon Brando who elevates this film to heights that it would never have gotten to had it not been for his presence. Last Tango in Paris is not a bad film, but it is never really a good film either; instead it treads into territory that, while being… More
  Another powerhouse performance by Marlon Brando who elevates this film to heights that it would never have gotten to had it not been for his presence. Last Tango in Paris is not a bad film, but it is never really a good film either; instead it treads into territory that, while being believable, has it's points of skepticism (such as the beginning of the relationship between the two which feels very much like rape on the part of Brando's character, which somehow blossoms into an actual relationship). The direction to the piece is good, but the script is shocking and this is mainly noticeable in the subplots of supporting characters who have pointless story arcs that add no flair to the film. A nice direction technique though is the use of language throughout the film where, when the couple are together, there is mostly English language spoken - which juxtaposes itself to the French outside and creates a much more concise look into the solitude of this couples relationship and the difference that they share to the rest of the residing society.

• Michael G

  
  Worth it just for Brando. And hide your butter.

• Dean M

  
  Dull depiction of the vital and basic sexual relationship between 19-year-old girl and the 45-year-old man.

• Steve K

  
  A slow film to try and trudge through, though worth it for the "butter scene".

• Byron B

  
  Obsessive romantic tryst between older man with violent impulses and young girl who wants his attention, but not the attention of her filmmaker boyfriend. Some beautiful scenes, but mostly I was disturbed by Brando's sexual fetishes. Maria's character has it right at the… More
  Obsessive romantic tryst between older man with violent impulses and young girl who wants his attention, but not the attention of her filmmaker boyfriend. Some beautiful scenes, but mostly I was disturbed by Brando's sexual fetishes. Maria's character has it right at the end in summing up for the police who Brando's character was.

• Janno D

  
  Like most challenging works of art, it divides people. But to claim Last Tango in Paris as a pile of puerile sexual nonsense is an act of antagonism against intellectualism. It is one of most emotionally and sexually frank films ever made, boldly confronting society's… More
  Like most challenging works of art, it divides people. But to claim Last Tango in Paris as a pile of puerile sexual nonsense is an act of antagonism against intellectualism. It is one of most emotionally and sexually frank films ever made, boldly confronting society's preconceived notions about sex, relationships, conventions and censorship. Bertolucci orchestrates a sad, devastating masterpiece, drawing the last great performance from Brando, arguably the greatest film actor to grace the entire history of celluloid.

• Mike T

  
  Often reduced to an erotic movie for reasons unknown to me, I would go so far as to say Last Tango is anything but erotic. Bertolucci crafts a bleak and profoundly unnerving picture, accentuated by Vittorio Storaro's dimly lit and uniquely characterized camerawork. This is a… More
  Often reduced to an erotic movie for reasons unknown to me, I would go so far as to say Last Tango is anything but erotic. Bertolucci crafts a bleak and profoundly unnerving picture, accentuated by Vittorio Storaro's dimly lit and uniquely characterized camerawork. This is a movie about detached sex between an irreparable middle-aged man and a confused, eccentric young woman. The man is played by Marlon Brando, and I couldn't even begin to express my admiration for his work here. He conveys this character with such insight and honesty that, as an audience, we find ourselves studying him rather than passively watching him. Brando's performance is my personal favorite of all time, a piece of acting that hurls agonizing truth at us in ways that no other actor has ever touched on. Maria Schneider achieves a great thing by holding her own opposite the greatest screen performer in history. Her bizarre and sexually perplexed character is unforgettable. Bertolucci shapes a queasy, dark movie with his out-of-the box composition, unforgiving imagery and examination of impersonal sex.

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