Review of Last Tango in Paris (1972) by Ice R — 16 Aug 2009

A different perspective. The two individuals, around whom this story revolves, never learn each otherâ??s names. Their time together is brief and fleeting. Nothing is gained. The need is animalistic; the purpose is release.

Marlon Brando produces the performance of his life in this film, released the same year as the seminal gangster movie The Godfather(1972). Don Vito Corleone was stoic and majestic but in Paul, he found a vehicle for his most brooding and scintillating character since Stanley Kowalski in A Streetcar Named Desire(1951). A 45-year old American living in Paris, very recently widowed after his wifeâ??s violent suicide just prior to the storyâ??s start. The couple ran a hotel populated with druggie musicians and other such assorted lowlife. In his search for an apartment, a place to escape, he meets Jeanne, a 20-year old French girl played by newcomer, Maria Schneider. She is engaged to an eager but incompetent young film-maker who she is to marry within the fortnight. In the abruptly short time Paul and Jeanne share together, they search for something like redemption, fulfillment even. But the only thing found is release.

Brandoâ??s acting has always been on another level (â?? can any other performer act even a death scene as measured as he did?). Heâ??s known for his work in various films including The Godfather and Apocalypse Now(1979). But the output in Last Tango in Paris is second to none. The sparse camerawork and almost counterpoint soundtrack only accentuate each action. The most intense scene is a monologue delivered to his wife Rosaâ??s embalmed corpse. It appears that the depth of his soul is emptied out, poured onto film and the viewer can do little but be completely enveloped and enthralled at the cathartically explosive eulogy.

The pain Paul feels at the loss of his wife is displayed through grief, anger, giddy euphoria and unsettling lust. Jeanne bares the brunt of most of these emotions, whilst going through her own, though less intense, issues â?? loss of her father, anxiety of her upcoming nuptials, childlike innocence and burgeoning womanhood. It would be short-sighted to suggest the female character is gratuitous or that she is taken advantage of. The veracity with which the Parisienne puts her fiancé in his place whilst he attempts to shoot a documentary round her of the wedding preparation, illustrates Jeanne is a force to be reckoned with in her own right. The two individuals are more like sparring partners than lovers; they duel throughout the film. Only one remains standing at the final bell.

When this film was released it was thought to bring with it a new era of film-making, a liberating and fresh perspective on the association between love and sex. A change from the stereotypical family values with a headfirst dive into the visceral unknown. At the very least, a graduating discourse about human relationships. However, change scares folks and though well-acclaimed, the film-going audience did not share critical opinion and the film was banned. Scenes were cut and court cases ensued so the studios continued to produce what they understood; family pictures, gangster movies and regular wholesome entertainment. Few films since have dared down the dirt-track of Last Tango (e.g. Sex, Lies and Videotape(1989), Naked(1993) and more recently 9 Songs(2004)). Ultimately, the enjoyment of this film might depend on the viewer, but it should not perturb you like it disturbed them â?? after all, some of this is now soap-opera material. But I promise you will be stirred by the rawest of emotions.