Last Tango In Paris
Distraught following his wife's suicide, American hotelier Paul (Marlon Brando) becomes transfixed by the beautiful younger Frenchwoman Jeanne (Maria Schneider) and demands their clandestine relationship be based only on sex.
1946, Naples, Campania, Italy
25 July 1930, Lausanne, Switzerland
September 21, 1929 in Vertou, Loire-Atlantique, France
1 May 1927, Casalecchio di Reno, Emilia-Romagna, Italy
21 November 1907, Le Carbet, Martinique
3 October 1914, Zoagli, Liguria, Italy
February 05, 2011
But when we look at this film, it signals a feeble turn towards art house eroticism which is tame by today's standards. For as Maria Schneider herself says ', we've seen much worse'.
January 01, 2000
The look, feel and sound of the film are evocative.
December 07, 2007
An uneven, convoluted, certainly dispute-provoking study of sexual passion in which Marlon Brando gives a truly remarkable performance.
April 25, 2012
Brando gives a terrific performance, but Bertolucci's movie as a whole, which was so bold and audacious in 1972, does not hold up very well.
June 24, 2006
It's Brando's film: his monologues devastate.
March 30, 2011
Took the world by storm with its strategy of sexual frankness and a towering performance by Marlon Brando. [Blu-ray]
December 23, 2016
A film that loses all interest and is even quite unbearable when Brando is not on screen. [Full review in Spanish]
March 25, 2011
This emotional, sexual jumble of a movie still contains some interesting ideas, and some gorgeous cinematic poetry.
May 20, 2003
The movie is sad, but it's also hugely funny, occasionally when it doesn't mean to be.
February 26, 2011
High Art moments are offset by the grossly misogynistic behavior of Brando's character and scenes and dialogue that can seem so insipid that they negate any real eroticism or serious shock value.
July 22, 2016
The sex scenes that made the film famous are just a symptom of a deep pain and also its treatment. [Full review in Portuguese.]
December 07, 2007
The operatic extravagance of Bernardo Bertolucci's style has emerged more clearly since this 1972 drama, which still managed to seem vaguely naturalistic in the midst of its extravagant camera moves and eccentric construction.

