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 35 | slideshow) Videos (see all 6)
Last Tango in Paris -- Marlon Brando delivers a fascinating performance as a man torn apart by his wife's suicide who attempts to bury his grief in a sudden, purely carnal relationship with an alluring stranger (Maria Schneider).
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 -- Marlon Brando delivers a fascinating performance as a man torn apart by his wife's suicide who attempts to bury his grief in a sudden, purely carnal relationship with an alluring stranger (Maria Schneider).
Last Tango in Paris -- Clip: Not Knowing

Overview

User Rating:
7.2/10   33,289 votes »
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Writers:
Contact:
View company contact information for Last Tango in Paris on IMDbPro.
Release Date:
7 February 1973 (USA) See more »
Genre:
Plot:
A young Parisian woman meets a middle-aged American businessman who demands their clandestine relationship be based only on sex. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Nominated for 2 Oscars. Another 7 wins & 6 nominations See more »
User Reviews:
Butter or Margarine See more (172 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)

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 .... first assistant camera
Luciano Galli .... gaffer
Alfredo Marchetti .... key grip
Mauro Marchetti .... second assistant camera
Alberico Novelli .... electrician
Angelo Novi .... still photographer
Enrico Umetelli .... camera operator
 
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

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:
129 min | USA:127 min (R-rated version) | 250 min (rough cut)
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:(Banned) (original rating) (1973-1992) | 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)

Did You Know?

Trivia:
The story Paul tells Jeanne about his mother, about how she taught him to appreciate nature, which he illustrates with his reminiscence of his dog Dutchy hunting rabbits in a mustard field, is real, based on Marlon Brando's own recollections of his past.See more »
Goofs:
Audio/visual unsynchronized: When Paul and Jeanne are at the sinks together, she says, "I prefer to be a whore." Her lips do not move during that line.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:
Girl in BlackSee more »

FAQ

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156 out of 244 people found the following review useful.
Butter or Margarine, 31 January 2005
Author: arichmondfwc from United States

I'm thinking of "Last Tango in Paris" today because Neznaia, a kind IMDb user, asked me to write about it and I promised I would. Now a dilemma. Shall I write as I remember the experience or shall I watch it again? Well I'm already here so I seem to have taken a decision. Butter, that was the key word that pushed crowds to line up outside the theaters all over the world. Over the years the film has been vilified as utter euro trash or acclaimed as one of the best films ever made. I think that the truth falls somewhere in the middle. Bertolucci was coming out of at least two certified masterpieces of political, social and cinematic achievement "Before the Revolution" and "The Conformist". Tango is something else altogether, cinema veritè photographed by Vittorio Storaro, a revolutionary artistic genius, Gato Barbieri's music and Marlon Brando giving himself totally in one of the most brilliant pieces of self indulgence ever put on film. Within the intellectual coldness of its intentions breaths a stunning melodrama of operatic proportions. As a side note let me tell you that legend has it that in the original script, the Maria Schnaider's character, was a boy. At the time an idea of the sort was too outrageous to even consider. Everybody was very sophisticated but not that sophisticated. Apparently the movie went on with a girl in the part but not even a coma was changed from the original. Now, look at the film again with that in mind and you will notice that everything, as if by magic, makes perfect sense. We are ask to justify Brando's first wild approach to Schnaider was an irrational reaction to the pain, the anger and confusion by his wife death. Well yes, but he is a man, she is a woman, they may be braking a few rules but the basics remain intact, unless, of course she wasn't a she. If they are a man and a girl above the age of consent why the charade of secrecy? Why she's never really dressed like a girl, always jackets and open neck shirts and why they never make love like a man and a woman, usually, do? A lot of fingers and butter and,talk. When they get to the tango scene Brando dances with a real woman while Maria Schnaider monkeys around them. And finally look at the end and tell me if doesn't make much more sense if she was a he. She could have explained everything, embarrassing perhaps I don't know, but perfectly normal. If she was a he, the son of a military man, the thing had an entirely different color. Impossible to admit or to explain for a boy. Their affair is not between two gay man but between two heterosexuals. That's the key, that's at the center of it all. A breaking of rules in the most intimate way. To go against what you have come to accept as your own nature. I may be wrong of course, but I don't think so. I will see it again as soon as I can and if I feel that this memory of the film is merely a product of what I may have been smoking at the time I will let you know. But, somehow, I don't think I will have to.

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