Marlon Brando, Maria Schneider, Maria Michi

A middle-aged American man, tormented by his wife's suicide, drowns out his dark feelings by engaging in a torrid sexual relationship with a young Parisian woman he meets in a vacant Paris flat.

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78% liked it

6,352 ratings

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81% liked it

26 critics

NC-17, 2 hrs. 9 min.

Directed by: Bernardo Bertolucci

Release Date: February 1, 1972

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DVD Release Date: October 14, 2003

Stats: 1,138 reviews

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Flixster Reviews (1,138)


  • October 24, 2009
    "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 w...( read more)hich 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.
  • July 13, 2009
    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 t...( read more)hat 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.
  • June 6, 2009
    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 ...( read more)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.
  • September 20, 2007
    Last Tango in Paris is a pretentious movie. It's pretentious, self indulgent, overly important and artsy, and sexually deviant. In short, it's the epitome of all the things I most hate about foreign art house films. And yet, inexplicably, I love this movie so much. It haunts ...( read more)me in a way most flicks don't (be warned - with as pretentious a movie as this, a pretentious review is almost a necessity). It's so hypnotic, so trance-inducing, and so emotionally raw and powerful that seeing it is not only an experience, but an ordeal. It's not the kind of movie you can enjoy, but it's almost impossible for me not to be awed and shocked and disturbed by how beautiful a movie could portray such ugliness of human nature. Firstly, lets talk about the history of the flick. Pauline Kael, when the movie was released, wrote "the film revolution has begun", and that this film was going to become a landmark in the history of art. Sadly, it didn't happen that way. Last Tango in Paris might've become a milestone in film history, but a few years later the onslaught of Jaws and Star Wars sqaundered any hope people had of making intense sexually fueled character drama's like these, as the whole industry shifted to massive blockbusters. It was hugely controversial at the time - not so much the nudity, because while often showing the lead actress full frontal, it's rarely gratuitious. It's not even so much the sex/sex talks, which are as graphic as any film I've ever seen. More importanty, I think, the film hit a nerve. The movie is so raw, so blunt, so direct in it's sexuality, that when I watch it I both nod in understanding and shake my head in confusion. Take the scene where Brando asks, openly to the girl, "when was your first orgasm?", and she replies with a story about running down a hill when she was 14 and experiencing it accidentally. This kind of dialogue could've found it's way in an American Pie, but the manner in which it's spoken makes it so much more. This is, by the way, the least sexually explicit the dialogue gets. The sex in this movie will, honestly, scar you. Take the initial rape scene, which the girl readily accepts and even agrees to see Brando at the apartment always, without giving any names or information about themselves. Or the infamous "butter scene" where Brando rapes her anally with the lubricated help of a stick of butter. Or the scene where Brando demands she insert her two fingers up his ass while he talks about how he wants her to have sex with a dying pig then eat his puke and smell the pig's farts. Yep. That's in the movie. I probably turned off about 90% of the people reading this review from telling them this. But what's important to understand is how much deeper the film goes than this, revealing so much to us about who we are as humans and how we interact with others that it hurts just to watch it. In terms of acting, the film is impressive. Brando gives a terrifying performance - we sympathize with this man and see his pain, but that doesn't take away the fact that he's a monster. The cinematograpy is moody and dark, with high contrast, and the directing is superb - the camera, in even the most static scenes, is almost always moving in interesting ways. And the ending is poignant and beautiful - I love the moment where Brando puts the piece of gum under the bannister before facing the end of his story. True, the movie isn't perfect - the young filmmaker in the movie is weak and the music is very distracting (often fading in for 10 seconds than fading immediately out again). But still, something about this film just really gets to me. It's clearly not for everyone, but you out there with the stomach and the heart to endure this visually poetic flick will never forget it.
  • August 25, 2007
    Sultry, dark and decadent picture about loneliness. wonderful photography and marvelous Brando.
  • November 10, 2009
    Un film in cui la regia subisce il fascino magnetico del geniale attore-protagonista, che dirige il film con la sua recitazione. L'incastro della trama non č perfetto ma le scene erotiche risultano davvero ridicole se si pensa che scatanarono allora una censura da inquisizione. P...( read more)ersonalmente un film che non mi ha del tutto convinto e considero da rivedere.
  • October 27, 2009
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  • October 24, 2009
    2 masterpieces from Italy. Maria Schneider-Marlon Brando-Bernardo Bertolucci-1972.

    "eventual monstrous obesity seemed a clear sign of his hatred for Hollywood," as Stanley Kauffmann wrote in the best of the Brando obituaries.
  • September 24, 2009
    so strong, so erotic, so bitter...
  • September 23, 2009
    if only Bertolucci is a French,i would call him the REAL father of French New wave cinema. Everything he did in this,to me,is more french than what Godard did in A Bande A Part. it is exotic and beautiful,just like the country itself.my only problem is,sometimes the pace is a li...( read more)ttle bit slow,but i expected it,since its Bertolucci (at least it is not as slow as The Last Emperor,though)

Critic Reviews


January 1, 2000
Roger Ebert, Chicago Sun-Times

The look, feel and sound of the film are evocative. full review

View more Ultimo Tango a Parigi (Last Tango in Paris) reviews at RottenTomatoes.com

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