Last Tango in Paris tells the story of the sexual relationship between Paul -played by Marlon Brando- a mature selfish widower, and Jeanne -played by Maria Schneider- a naive 20y.o. emotionally immature girl.
Despite what one might think, the movie is not about sex, but about obsession, manipulation, grieving, deceit, primal emotions and social constrictions.
THE CHARACTERS
One of the most fascinating things about this movie is how well drawn the characters are. They are multifaceted, never simple or linear, very human, but also very archetypal and symbolic. The viewer can hate or love them, but, even if one can't fully understand them, there is a feeling of acceptance and even empathy.
Paul is an obsessive person, who had an open relationship with his wife -the only way he believes love should be, free from any obligation. When his wife commits suicide, he is shocked. He takes the suicide as a proof of his wife's emotional treachery. A mix of grief and hatred, pain and disenchantment with love, is what Paul is feeling when he meets Jeanne. She is half his age and easy to manipulate, as she's emotionally insecure and unhappy with her boyfriend, who uses her like a doll. They are like water on fire.
Paul channels his conflicting emotions through raw sex. He forces Jeanne into a situation that it is not good for her, a fact that she realises early on. Jeanne is looking from love and for personal appreciation, the one she doesn't get with her boyfriend, and to be loved for who she is. However, Paul creates a situation of complete emotional and sexual domination by establishing the rules of their meetings, which only benefit him. The Society and world that Paul wants to leave behind is, after all, a wish to return to Paradise. The fact that the couple play and talk like baboons in their rendezvous is a metaphor of this primeval relationship and the space of mind that Paul wants.
Jeanne's character and her relationship with Paul is the catalyst for her inner transformation - the way she relates to men in general, and her boyfriend in particular. She is like a lamb at the beginning of the movie, but like a lioness at the end. Despite her obsession with Paul, she is able to see her own dependence and starts fighting it until she frees herself completely.
THE PERFORMANCES
The respective ages and level of maturity/immaturity of Brando and Schneider are perfect for their characters, and the acting is convincing and dynamic on both parts.
Brando is great in his performance, superb sometimes, especially when he's able to relax in front of the camera and improvise those monologues for which he became famous. The scene in which the recalls the story of his childhood is so real and powerful that you feel that he's the character he's playing; the same can be said of his scene with Massimo Girotti (who plays the lover of Paul's wife). I found some of his crying scenes heartfelt, but some others a bit phoney.
Despite Schneider's acting being labelled poor, she brings to her role exactly what it is needed, and what Bertolucci wanted from her. She plays with freshness, naivety, and emotional maturity a character that is extremely difficult, has many colours, and does so in front of a mature Brando, who was a legend at the time.
THE (IN)FAMOUS SEX SCENES
The movie is disturbing sometimes, but not because of the sex scenes. The raunchy images that scandalised the world in the 1970s are, in most cases, not that raunchy for modern standards. Nudity is limited, and the bed scenes are more hinted and talked about than explicitly shown.
The only scene that I consider confronting is the one involving the butter bar. I had a strong emotional reaction against the scene, and I found it disturbing, despite the characters being dressed, and some men viewers considering the scene "hot". It felt like a rape to me. Alas, in an interview, Maria Schneider mentions that this scene wasn't originally in the script, that it was Brando's idea, that Bertolucci loved it, that she didn't want to do it; however, she was was forced to do it, and that she felt raped; her tears in the movie were real and personal, not the characters'.
THE ATMOSPHERE
I thought that it was one of the best things of the movie as masterly reflects the soul and essence of the characters, individually and as couple. The mix of colours, lighting, and music are in perfect tune with each other. Thus, the atmosphere is dark and claustrophobic, bizarre and horror-like when focuses on Paul's world.
The atmosphere is clear, luminous, fresh and bucolic when focuses on Jeanne's world.
The atmosphere is warm minimal and with a a pronounced chiaroscuro in the love meetings of the couple in the empty apartment.
The atmosphere is decadent, theatrical, and "run out" in the Tango dancing scenes.
To blend it all, the sound track by Gato Barbieri is beautifully unsettling.
THE FLAWS
I found the movie a little too long, too theatrical at times, and some bits unnecessary and distracting. The tempo is uneven, not fluid or natural, more theatrical than cinematic. Maria Schneider's wardrobe is really poor and she wears the same attire for most of the movie. This is not an easy movie to watch, or so did I find.
***
