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Last Tango in Paris (1972)
"Ultimo tango a Parigi" (original title)

NC-17  |   |  Drama, Romance  |  7 February 1973 (USA)
7.2
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Ratings: 7.2/10 from 32,505 users   Metascore: 77/100
Reviews: 172 user | 92 critic | 6 from Metacritic.com

A young Parisian woman meets a middle-aged American businessman who demands their clandestine relationship be based only on sex.

Writers:

(story), (screenplay), 3 more credits »
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Title: Last Tango in Paris (1972)

Last Tango in Paris (1972) on IMDb 7.2/10

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Nominated for 2 Oscars. Another 7 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Maria Michi ...
Rosa's Mother / La mère de Rosa
Giovanna Galletti ...
Prostitute / La prostituée
Gitt Magrini ...
Jeanne's Mother / La mère de Jeanne
Catherine Allégret ...
Catherine (as Catherine Allegret)
Luce Marquand ...
Marie-Hélène Breillat ...
Monique (as Marie-Helene Breillat)
...
Mouchette
Dan Diament ...
TV Sound Engineer / L'ingénieur du son
Catherine Sola ...
TV Script Girl / La script-girl
Mauro Marchetti ...
TV Cameraman / Le cameraman
...
Tom - un cinéaste, le fiancé de Jeanne (as Jean-Pierre Leaud)
...
Marcel
Peter Schommer ...
TV Assistant Cameraman / L'assistant-opérateur
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Storyline

While looking for an apartment, Jeanne, a beautiful young Parisienne, encounters Paul, a mysterious American expatriate mourning his wife's recent suicide. Instantly drawn to each other, they have a stormy, passionate affair, in which they do not reveal their names to each other. Their relationship deeply affects their lives, as Paul struggles with his wife's death and Jeanne prepares to marry her fiance, Tom, a film director making a cinema-verite documentary about her. Written by Erich Schneider <erich@bush.cs.tamu.edu>

Plot Summary | Plot Synopsis

Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated NC-17 for some explicit sexual content | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

|

Language:

|

Release Date:

7 February 1973 (USA)  »

Also Known As:

Last Tango in Paris  »

Filming Locations:

 »

Box Office

Budget:

$1,250,000 (estimated)

Gross:

SEK 2,704,423 (Sweden)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (R-rated) | (rough cut)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.75 : 1
See  »
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Did You Know?

Trivia

When Marlon Brando arrived for the first day of shooting, he had on makeup "two centimeters thick" according to Bernardo Bertolucci. Brando, who had applied his own makeup, didn't understand the natural, low-light conditions cinematographer Vittorio Storaro was going to work with to get the look of the film. Bertolucci had to remove much of the makeup from Brando's face with a handkerchief. See more »

Goofs

The bottle of "bourbon" is actually Jack Daniels' Tennessee whiskey. Since the Daniels distillery is not in the Bourbon region of Kentucky that whiskey cannot be called "bourbon" according to US law. See more »

Quotes

[first lines]
Paul: [with his hands over his ears at the overwhelming sound of a passing train] Fucking GOD!
See more »

Connections

Referenced in Chelsea Lately: Episode #7.29 (2013) See more »

Soundtracks

Fake Ophelia
Composed by Gato Barbieri
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User Reviews

 
Maria Schneider's face summarises this film perfectly
15 December 2005 | by (United Kingdom) – See all my reviews

Schneider's looks can dutifully encapsulate my true emotions to this film. Occasionally she looks sexy and encaptivating, other times she can look too pale and a little bland. That's exactly how Bertolucci's helping of sexual cravings had me feeling after this film.

Habitually, Bertolucci's work eclipses genius - he is one of the few directors in world cinema that has an eye for definitive detail. He can capture such beautiful images, with such great vision, emotion, colour and panache that the viewer's sentiments are guided like few others in film-making. Like aforementioned, Schneider's face would be the perfect simile for this particular film. One scene the viewer is startled by the raw depth of the film, although slightly troubled by the explicit sex, but then all the viewer is treated to in the next scene is a terse and awkward moment which seems to have no correlation with the one that preceded it.

Naturally Brando's performance did help boost this film greatly, but that seems the film's very weakness - whenever he is off-camera it seems to struggle too much, it loses its power and prestige and becomes a little incoherent. This film undoubtedly has some powerful and poignant scenes that really can convey genuine sentiment and exude a tangible originality too; but it never really seems to shake off the loss of Brando's presence altogether.

For admirers of Bertolucci its a must, but for more neutral cineastes it would be advisable to have a more cautious approach when watching this film - to enjoy it, it would be paramount to expect this film to be an edifying, not an entertaining experience; its not a frivolous subject matter in any sense


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