Ultimo tango a Parigi (1972)

Director:

Bernardo Bertolucci

Writers:

Bernardo Bertolucci (story)
Bernardo Bertolucci (screenplay) ...

Release Date:

7 February 1973 (USA)

Genre:

Drama | Romance

Plot:

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.

Plot Keywords:

Apartment | American Expatriate | Sex | Suicide | Grief

Awards:

Nominated for 2 Oscars. Another 5 wins & 5 nominations

Cast

  (Cast overview, first billed only)

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

Also Known As:

Last Tango in Paris (UK)
Le dernier Tango à Paris (France)
Ultimo tango a Parigi (Italy) (dubbed version)

MPAA:

Rated NC-17 for some explicit sexual content.

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

Country:

Italy | France

Language:

English | French

Color:

Color (Technicolor)

Aspect Ratio:

1.75 : 1

Sound Mix:

Mono

Certification:

Canada:18+ (Quebec) | Canada:R (Manitoba/Nova Scotia/Ontario) | Germany:16 (re-rating) (2000) (uncut) | West Germany:18 (original rating) (cut) | Italy:(Banned) (1972-1986) | Singapore:(Banned) | Brazil:14 | Argentina:X (original rating) | Argentina:18 (re-rating) | UK:18 (video rating) (1988) (uncut) | UK:X (original rating) (cut) | Australia:R | Chile:18 | Finland:K-18 | France:-16 | Ireland:18 | Italy:VM18 (re-rating) | New Zealand:(Banned) (original rating) | New Zealand:R18 (re-rating) | Norway:18 | Portugal:(Banned) (1973-1974) | Portugal:M/18 | South Korea:(Banned) (original rating) | South Korea:18 (re-rating) (1996) (uncut) | Sweden:15 | USA:NC-17 (re-rating) (1997) | USA:R (cut version: 1981) | USA:X (original rating: 1973) | USA:X (re-rating) (1982)

Filming Locations:

Paris, France

Company:

Les Productions Artistes Associés

Trivia:

Jean-Louis Trintignant and Dominique Sanda were both approached for the leading roles.

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.

Quotes:

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

Movie Connections:

Referenced in Damned in the U.S.A. (1991)

Soundtrack:

Last Tango in Paris

Maria Schneider's face summarises this film perfectly

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