There are three films here. There is Paul and Jeanne. The good. There is Tom and Jeanne. The bad. And there is Paul and everyone else. The ugly.
I just fast forward now through the bad and savor both the good and the ugly.
Purportedly, the film is basically just one man’s sexual fantasy. The director’s: The idea of this movie grew from Bernardo Bertolucci’s own sexual fantasies, stating that “he once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was”.
All the rest is something that each of us as individuals will attach our own “meaning” to.
Mine tends to revolve around the manner in which ones sense of identity can slip in and out of what is real and what is only imagined; of how things are and of how they might become if we are able to slip in and out of the fantasy.
Most importantly, it revolves around the relationship between the private anguish we endure in absorbing private losses and the manner in which that can be embodied when interacting with others [here intimately] who do not have a clue regarding this part at all.
To wit: We are only afforded a glimpse into the relationship between Paul and his wife. We know she committed suicide and we know Paul is embedded [somehow] in the reason. And then we watch as this all becomes entangled in his relationship with Jeanne. But nothing is ever pinned down. And Jeanne is oblivious. Thus my reaction to the ending may well be very different from your reaction. I was surprised [and not pleasantly] when all pretenses dissolve into “the real world”: Hey, kid, this is who I really am.
I preferred the man falling apart at the seams when confronted with the body of his dead wife. The leap here was just too disconcerting for me. I could not have made it myself.
And Jeanne was someone I was not able gain any traction with at all. She is very young, very beautiful, very voluputous. And I have always been attracted to, well, let’s just she that hers is extraordinary. She is “artsy”, off the beaten track. But not much more than that. Not to me. I was not able to find myself caring all that much about her. And I could only imagine my reaction to the film if I had been. How very much different it would have been.
IMDb
[b]While filming, Bernardo Bertolucci tried to explain the point of the film to Marlon Brando, suggesting that his character was Bertolucci’s “manhood” and that Maria Schneider’s character was his “dream girl”. Brando later maintained that he had absolutely no idea of what Bertolucci was suggesting or even talking about.
According to his autobiography “Brando: Songs My Mother Taught Me”, the reason why Marlon Brando refused to do a full frontal nude scene was because his “penis shrank to the size of a peanut on set”.
According to Maria Schneider, Marlon Brando’s lines were routinely taped to her naked body because of his dyslexia and reluctance to memorize his dialog.
According to Maria Schneider, the famous “butter scene” was never in the script and improvised at the last minute by Marlon Brando and Bernardo Bertolucci without consulting her. Though the sodomy act was faked, her real tears in the film clearly testify her state of shock.
Jean-Pierre Léaud had so much respect for Marlon Brando that he was afraid to meet him. That’s why he shot all his scenes on Saturdays, when Brando refused to work. Due to this, the two never met in the entire making of the film on and off screen.
Such was the controversy over the film that the print was smuggled into the USA for its debut in a diplomatic pouch from Italy. The film was due to have its premiere at the New York Film Festival where tickets were going for $150. [/b]
at wiki: en.wikipedia.org/wiki/Last_Tango_in_Paris
trailer: youtu.be/3x4UOsLC0OE
[b]Note: Some explicit language[/b]
LAST TANGO IN PARIS [Ultimo Tango a Parigi] 1972
Written and directed by Bernardo Bertolucci
[b]Paul [with his hands over his ears at the sound of a passing train…seeming to beseech the heavens]: Fucking GOD!
…
Maid [to Paul]: I’d have finished by now, but the police wouldn’t let me touch anything. They didn’t believe it was suicide. There was so much blood everywhere. They had fun making me do a reconstruction. “She went there.” “She came through here.” “She opened the curtain.”…Asking if she was sad, if she was happy, if you fought, how long you’d been married, why you didn’t have any children. Pigs! They said, “Your boss is a bit unstable.” “Do you know that he was a boxer?” So? “lt didn’t work out, so he became an actor.” “Bongo player, revolutionary in South America, journalist in Japan.” “One day, he lands in Tahiti, hangs around, Learns French.” “Then he comes to Paris. There… he meets a woman with money, marries her and…” “Since then what has your boss done?” “Nothing.” I say, “Can I clean up now?” “No! Don’t touch anything!” “Do you really think she killed herself?”
…
Jeanne: I don’t know what to call you.
Paul: I don’t have a name.
Jeanne: Do you want to know mine?
Paul: No, no! I don’t. I don’t want to know your name. You don’t have a name and I don’t have a name either. Not one name.
Jeanne: You’re crazy!
Paul: Maybe I am, but I don’t want to know anything about you. I don’t wanna know where you live or where you come from. I wanna know nothing.
Jeanne: You scare me.
Paul: Nothing. You and I are gonna meet here without knowing anything that goes on outside here. OK?
Jeanne: But why?
Paul: Because…because we don’t need names here. Don’t you see? We’re gonna forget…everything that we knew. Every…all the people…all that we do…wherever we live. We’re going to forget that, everything, everything.
Jeanne: But I can’t. Can you?
Paul: I don’t know…
…
Paul: What are you looking for?
Rosa’s mother: Something that would explain…A letter, a clue.
Paul: Nothing. I told you, there’s nothing, nothing at all.
…
Rosa’s mother: I’ll prepare her a beautiful room with flowers. The cards, clothes, relatives, flowers.
Paul: You’ve got everything in that suitcase. You didn’t forget anything. But I don’t want any priests here. No priests.
Rosa’s mother: But, Paul. We have to. Funerals must be religious.
Paul: NO!! Rosa didn’t believe. Nobody believes in fucking God here!
Rosa’s mother: Paul, don’t shout. Don’t talk like that.
Paul: The priest doesn’t want any suicides. The Church doesn’t want any suicides, do they?
Rosa’s mother: They’ll give her absolution. Absolution and a nice mass. That’s all I ask, Paul. Rosa…Rosa is my little girl, do you understand? Rosa…Why did she kill herself?
Paul: Why? Why did she kill herself? Why?
[he viciously punches the door with his fist]
Paul: You don’t know, do you? You don’t know…
…
Jeanne: I shall have to invent a name for you.
Paul: A name? Oh, Jesus Christ! Oh, God, I’ve been called by a million names all my life. I don’t want a name. I’m better off with a grunt or a groan for a name.
…
Jeanne: My father had green eyes and shiny boots. I worshipped him. He was so handsome in his uniform.
Paul: What a steaming pile of horseshit.
Jeanne: What? Don’t…
Paul: All uniforms are bullshit. Everything outside this place is bullshit.
…
Jeanne: What are we doing here?
Paul: Let’s just say we’re taking a flying fuck at a rolling donut.
…
Paul: Why were you going through my pockets?
Jeanne: To find out who you are.
Paul: “To find out who you are?”
Jeanne: Yes.
Paul: Well, if you look real close, you’ll see me hiding behind my zipper.
…
Jeanne: Why do you hate women?
Paul: Because either they always pretend to know who I am, or they pretend I don’t know who they are, and that’s very boring.
…
Marcel [doing pullups]: This is my secret. 30 times every morning.
Paul: Really, Marcello, I don’t know what she ever saw in you.
…
Paul [to Jeanne]: Go, get the butter.
…
Paul [while sodomizing Jeanne]: I’m gonna tell you about the family. That holy institution meant to breed virtue in savages. I want you to repeat it after me. Repeat it. Say, “Holy family.” Come on, say it. Go on. Holy family. Church of good citizens. Church…Say it. Say it! The children are tortured until they tell their first lie.
Jeanne [in tears]: The children… are tortured…
Paul: Where the will is broken by repression.
Jeanne: Where the will… broken… repression.
Paul: Where freedom… Free… Freedom! …is assassinated. Freedom is assassinated by egotism. Family… Family… You… You… You… You… You… fucking… fucking… family. You fucking family!
…
Jeanne; You know, you’re old! You’re getting fat.
Paul: Fat, is it? How unkind.
Jeanne: Half of your hair is out and the other half is almost white.
Paul: In ten years, you know what you’ll be doing…you’ll be playing soccer with your tits.
…
Paul: You want this golden, shining, powerful warrior to build a fortress where you can hide in. So you don’t have to ever…have…You don’t ever have to be afraid. You don’t have to feel lonely or empty. That’s what you want, isn’t it?
Jeanne: Yes.
Paul: Well, you’ll never find it.
Jeanne: But I find this man.
Paul: Then it won’t be long until he’ll want you to build a fortress for him out of your tits and your cunt and your hair and your smile and the way you smell. And…and some place where he can feel comfortable and secure enough so that he can worship in front of the altar of his own prick. Jeanne: But I find this man!
Paul: No, you’re alone. You’re all alone. You won’t be free of that feeling of being alone until you look death right in the face. I mean, that sounds like bullshit, some romantic crap, until you go right up into the ass of death. Right up in his ass… till you find the womb of fear. And then,… maybe. Maybe then, you’ll be able to find him.
Jeanne: I found him. He’s you! You are that man!
…
Paul: Get me the scissors. Get me the fingernail scissors. I want you to cut the fingernails on your right hand, these two. That’s it. I want you to put your fingers up my ass.
Jeanne: What?
Paul: Put your fingers up my ass, are you deaf? Go on. I’m gonna get a pig…and I’m…I’m gonna have the pig fuck you. I want the pig to vomit in your face and I want you to swallow the vomit. Are you gonna do that for me?
Jeanne: Yeah. Yeah!
Paul: I want the pig to die while…while you’re fucking him. Then you’ll have to go behind him. I want you to smell the dying farts of the pig. Are you gonna do all of that for me?
Jeanne: Yes, and more than that!
…
Paul [to his dead wife]: You know on the top of the closet? The cardboard box, I found all your… I found all your little goodies. Pens, keychains, foreign money, French ticklers, the whole shot. Even a clergyman’s collar. I didn’t know you collected all those little knick-knacks left behind. Even if a husband lives 200 hundred fucking years, he’ll never discover his wife’s true nature. I may be able to understand the secrets of the universe, but…I’ll never understand the truth about you. Never.
…
Paul [alone at his dead wife’s bedside]: Our marriage was nothing more than a foxhole for you. And all it took for you to get out was a 10 cent razor and a tub full of water. You cheap, goddamn, fucking, godforsaken whore, I hope you rot in hell. You’re worse than the dirtiest street pig anybody could ever find anywhere, and you know why? You know why? Because you lied. You lied to me and I trusted you.
[gradually starts losing his composure]
You lied and you knew you were lying. Go on, tell me you didn’t lie. Haven’t you got anything to say about that? You can think up something, can’t you? Go on, tell me something! Go on, smile, you cunt!
[starts crying]
Go on, tell me… tell me something sweet. Smile at me and say I just misunderstood. Go on, tell me. You pig-fucker…you goddamn, fucking, pig-fucking liar.
[sobbing]
Rosa… I’m sorry, I…I just…I can’t stand it to see these goddamn things on your face!
[peels off her fake eyelashes]
You never wore make-up…this fucking shit.
[wipes off her lipstick with a flower petal]
I’m gonna take this off your mouth, this…this lipstick…
[falls over her, sobbing uncontrollably]
Rosa - oh GOD! I’m sorry! I…I don’t know why you did it! I’d do it too, if I knew how…I just don’t know how…I have to…have to find a way…
…
Paul: It’s me again.
Jeanne: It’s over.
Paul: That’s right. It’s over and then it begins again.
Jeanne: What begins again? I don’t understand anything anymore.
Paul: There’s nothing to understand. We left the apartment, and now we begin again with love all the rest of it.
Jeanne: The rest of it?
Paul: Yeah, listen. I’m a widower. I’ve got a little hotel, a kind of a dump. But it’s not completely a flophouse. And…I used to live on my luck, and I got married. My wife killed herself. But you know, what the hell. I’m no prize. I picked up a nail when I was in Cuba in and now I got a prostate like an Idaho potato. But I’m still a good stick man, even if l can’t have any children. Let’s see. I don’t have any stomping grounds. I don’t have any friends. I suppose if I hadn’t met you, I’d probably settle for a hard chair and a hemorrhoid. Anyway, to make a long, dull story even duller, I come from a time when a guy like me would drop into a joint like this and pick up a young chick like you…and call her a bimbo.
…
Paul [to Jeanne]: Listen, that’s not a subway strap, that’s me cock!
…
Paul: Mademoiselle…How do you like your hero? Over easy or sunny-side up? I ran through Africa and Asia and Indonesia, and now I found you…and I love you. I want to know your name.
Jeanne: Jeanne.
[she shoots him]
…
Jeanne [imagining what she will tell the police]: I don’t know who he is. He followed me in the street. He tried to rape me. He’s a lunatic. I don’t know what he’s called. I don’t know his name. I don’t know who he is. He tried to rape me. I don’t know. I don’t know him. I don’t know who he is. He’s a madman. I don’t know his name.[/b]