IMDb > Last Tango in Paris (1972)
Ultimo tango a Parigi
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Last Tango in Paris (1972) More at IMDbPro »Ultimo tango a Parigi (original title)

Photos (See all 63 | slideshow) Videos (see all 5)
Last Tango in Paris -- A young Parisian woman begins a sordid affair with a middled-aged American businessman whom lays out ground rules that their clandestine relationship will be based only on sex.
Last Tango in Paris -- Clip: It Begins Again
Last Tango in Paris -- Clip: Not Knowing
Last Tango in Paris -- Clip: No Names

Overview

User Rating:
7.2/10   29,553 votes »
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Release Date:
7 February 1973 (USA) See more »
Genre:
Plot:
A young Parisian woman begins a sordid affair with a middle-aged American businessman who lays out ground rules that their clandestine relationship will be based only on sex. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. Another 6 wins & 6 nominations See more »
NewsDesk:
(294 articles)
How Bernardo Bertolucci Found Himself
 (From Vulture. 19 July 2014, 5:00 AM, PDT)

Bernardo Bertolucci Talks His New Movie, Considers 3D
 (From Variety - Film News. 17 July 2014, 10:00 AM, PDT)

Meet July's "Smackdown" Panelists
 (From FilmExperience. 13 July 2014, 9:04 PM, PDT)

User Reviews:
A Potpourri of Vestiges Review: Bertolucci's requiem for unrequited Love See more (173 total) »

Cast

  (in credits order) (verified as complete)

Marlon Brando ... Paul

Maria Schneider ... Jeanne
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 ... Olympia
Marie-Hélène Breillat ... Monique (as Marie-Helene Breillat)

Catherine 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

Jean-Pierre Léaud ... Tom - un cinéaste, le fiancé de Jeanne (as Jean-Pierre Leaud)

Massimo Girotti ... Marcel
Peter Schommer ... TV Assistant Cameraman / L'assistant-opérateur
Veronica Lazar ... Rosa
Rachel Kesterber ... Christine
Ramón Mendizábal ... Tango Orchestra Leader / Le chanteur de l'orchestre de tango
Mimi Pinson ... President of Tango Jury / Le président du concours de tango
Darling Légitimus ... La concierge
Gérard Lepennec ... Un déménageur
Stéphan Koziak ... Un déménageur
Armand Abplanalp ... Prostitute's Client / Le client de la prostituée
rest of cast listed alphabetically:
Laura Betti ... Miss Blandish (scenes deleted)
Jean-Luc Bideau ... Le capitaine de la péniche (scenes deleted)
Michel Delahaye ... Bible Salesman / Le vendeur de bibles (scenes deleted)
Gianni Pulone ... Man on street (scenes deleted)
Franca Sciutto ... Woman on street (scenes deleted)
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Directed by
Bernardo Bertolucci 
 
Writing credits
Bernardo Bertolucci (story)

Bernardo Bertolucci (screenplay) and
Franco Arcalli (screenplay)

Agnès Varda (adaptation: French dialogue) (as Agnes Varda)

Jean-Louis Trintignant  dialogue collaborator

Produced by
Alberto Grimaldi .... producer
 
Original Music by
Gato Barbieri (music composed by)
 
Cinematography by
Vittorio Storaro (director of photography)
 
Film Editing by
Franco Arcalli 
Roberto Perpignani 
 
Production Design by
Philippe Turlure 
 
Set Decoration by
Philippe Turlure 
 
Costume Design by
Gitt Magrini 
 
Makeup Department
Maud Begon .... makeup artist
Iole Cecchini .... hairdressing (as Jole Cecchini)
Phil Rhodes .... makeup artist (as Philip Rhodes)
 
Production Management
Gérard Crosnier .... production manager: France (as Gerard Crosnier)
Mario Di Biase .... production manager
Enzo Ocone .... post-production supervisor
Francis Peltier .... assistant production manager
Enzo Provenzale .... production supervisor
 
Second Unit Director or Assistant Director
Franco Arcalli .... third assistant director
Jean-David Lefebvre .... second assistant director (as Jean David Lefebvre)
Fernand Moszkowicz .... assistant director
 
Art Department
Maria Paola Maino .... set designer
Maria Paola Maino .... set dresser
Albert Rajau .... assistant set designer
Ferdinando Scarfiotti .... supervising set designer
Philippe Turlure .... set dresser
 
Sound Department
Fausto Ancillai .... sound mixer: English version
Luciano Anzellotti .... sound effects (as Luciano Anzelotti)
Massimo Anzellotti .... sound effects editor
Michael Billingsley .... sound editor
Antoine Bonfanti .... sound engineer
 
Camera and Electrical Department
Luigi Bernardini .... assistant cameraman
Luciano Galli .... gaffer
Alfredo Marchetti .... key grip
Mauro Marchetti .... assistant cameraman
Alberico Novelli .... electrician
Angelo Novi .... still photographer
Enrico Umetelli .... cameraman
 
Editorial Department
Gabriella Cristiani .... assistant editor
Ernesto Novelli .... printing supervisor
Elvio Sordoni .... assistant editor
 
Music Department
Gato Barbieri .... performer: saxophone solo
Oliver Nelson .... conductor
Oliver Nelson .... music arranger
 
Other crew
Suzanne Durrenberger .... script supervisor (as Suzanne Durremberger)
Maurizio Forti .... production accountant
Alberto Grimaldi .... presenter
José Lichtig .... production accountant (as Jose Lichtig)
Ginette Mejinsky .... production secretary
Christian Ferry .... development (uncredited)
 
Thanks
Francis Bacon .... acknowledgment: titles background made with the kind permission of (as Mr. Francis Bacon)
 

Production CompaniesDistributors
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Additional Details

Also Known As:
"Ultimo tango a Parigi" - France (original title)
See more »
MPAA:
Rated NC-17 for some explicit sexual content (re-rating) (1997)
Runtime:
136 min | Australia:129 min | USA:127 min (R-rated version) | USA:129 min (NC-17 version) | Italy:250 min (original cut) | Spain:124 min (DVD edition) | Norway:129 min | Taiwan:127 min (Golden Horse Fantastic Film Festival)
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.75 : 1 See more »
Sound Mix:
Certification:
Argentina:X (original rating) | Argentina:18 (re-rating) | Australia:R | Brazil:14 | Canada:R (Manitoba/Nova Scotia/Ontario) | Canada:18+ (Quebec) | Chile:18 | Finland:K-18 | France:-16 | Germany:16 (re-rating) (2000) (uncut) | Ireland:18 | Italy:VM18 (original rating) (cut) | Italy:VM14 (cut version) (1988) | Italy:VM18 (re-rating) (1987) (uncut) | Italy:(Banned) (1972-1987) | Netherlands:18 (orginal rating) | New Zealand:(Banned) (original rating) | New Zealand:R18 (re-rating) | Norway:18 | Portugal:M/18 | Portugal:(Banned) (1973-1974) | Singapore:(Banned) | South Korea:(Banned) (original rating) | South Korea:18 (re-rating) (1996) (uncut) | Sweden:15 | UK:X (original rating) (cut) | UK:18 (video rating) (1988) (uncut) | USA:R (cut version: 1981) | USA:X (original rating: 1973) | USA:NC-17 (re-rating) (1997) | USA:X (re-rating) (1982) | West Germany:18 (original rating) (cut)
Filming Locations:

Did You Know?

Trivia:
When Marlon Brando was asked what the movie was about during his 1979 Playboy Magazine interview, he responded, "Bernardo Bertolucci's analysis."See more »
Goofs:
Errors made by characters (possibly deliberate errors by the filmmakers): 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 »
Movie Connections:
Soundtrack:
Why Did She Choose YouSee more »

FAQ

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25 out of 31 people found the following review useful.
A Potpourri of Vestiges Review: Bertolucci's requiem for unrequited Love, 1 May 2011
Author: Murtaza Ali from India

Bernardo Bertolucci's Last Tango in Paris simultaneously mocks and mourns the human yearning for love and companionship. The movie is a requiem for unrequited love, and a testament to the proclivity of humans to surrogate love with lust when trapped in a maelstrom of despondence, chagrin, and compunction. Bertolucci's purpose is not to glorify carnality as a virtue or to scorn it as a vice, but is to use it as an instrument to authenticate the veritable existence of a dark, ugly, and bestial side of humanity, which is so often suppressed and hypocritically denied in similar works on the subject. Bertolucci's penchant for art is limitless and he uses it to full effect in order to give the movie an aesthetic feel while simultaneously catering to the movie's explorative, earthy, and unconventionally bold motifs. Bertolucci uses his characters uncannily as a medium to foray into unexplored realms of human psyche while unflinchingly projecting them as objects of desire, disgust and depravity. Bertolucci pushes Brando and Schneider to a limit where they are not only forced to compromise their egos but also relinquish their pride, and I say that not as an offence but as an appreciation for his talent as a movie-maker. Renowned film critic Pauline Kael bestowed the film with the most ecstatic endorsement of her career, writing, "Tango has altered the face of an art form. This is a movie people will be arguing about for as long as there are movies." American director Robert Altman expressed unqualified praise: "I walked out of the screening and said to myself, 'How dare I make another film?' My personal and artistic life will never be the same." Eminent critic Roger Ebert has added the film to his "Great Movies" collection.

The movie presents an episode in the lives of two loners residing in Paris: Paul, a recently widowed, middle-aged American businessman, and Jeanne, a young, voluptuous, soon-to-be-married Parisian girl. The two accidentally meet up in an empty apartment available for rent, and a steamy affair ensues between the two on strictly anonymous basis. Paul is very discreet about his identity and whereabouts and even cajoles Jeanne to religiously follow the protocol. Paul sees Jeanne as a carnal surrogate for his deceased wife, while Jeanne finds in Paul a lover which her fiancé could never become. The two continue to meet and serve each other at regular intervals while also going about their regular business. Their sexually charged up affair, despite a disconnect at the emotional level, satiates them both beyond expectations, and resonates to the viewer an ineffable sense of frenzy and euphoria that holds him in a vice-like grip for the entire length of the movie. The dramatically botched, anti-climactic ending of the movie, which has been snubbed by critics, still manages to testify the axiomatic consistency of change in packing a punch stronger than the modern-day gimmicks.

Marlon Brando gives an inciteful, poignant, tour de force performance as the reclusive widower. Many people called Brando a chameleon, but I would call him a chameleon who hated his camouflage; a prodigy who detested his talent; a narcissist who abhorred himself for being a mortal. Brando as Paul is a cross between a sadist and a masochist. He uses every ounce of his talent to conjure up his menacing alter-ego. Driven by guilt and chagrin, Paul's sociopathic self is a nightmare for those around him. Roger Ebert wrote about Brando's performance: "It's a movie that exists so resolutely on the level of emotion, indeed, that possibly only Marlon Brando, of all living actors, could have played its lead. Who else can act so brutally and imply such vulnerability and need?" The scene in which Paul confronts the dead body of his wife, who has committed suicide, is probably the most powerful scene ever filmed in cinema. It not only depicts the complexities associated with Paul's character but also highlights the dichotomy he suffered owing to his dual emotions of rage and grief.

Maria Schneider is innocent, charming, voluptuous and pitiful in her portrayal of Jeanne, a Parisian girl whose life is devoid of true love. Schneider, being fully aware of her limitations as an actor, incredibly manages to give a performance that is singular and effective enough not to be adumbrated by Brando's sublime, over-the-top portrayal.

The cinematography of the movie is vivid, elaborative, and expressive and is well complemented by the movie's sensuously evocative background score.

PS. Last Tango in Paris is a profoundly disturbing case-study of human emotions and is a must for cineastes worldwide, but can only be savoured by eschewing bigotry, prejudice, and conservatism. 9/10

http://www.apotpourriofvestiges.com/

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