Product Details

• Actors: Marlon Brando, Maria Schneider, Maria Michi, Giovanna Galletti, Gitt Magrini
• Directors: Bernardo Bertolucci
• Writers: Bernardo Bertolucci, Franco Arcalli, Agnès Varda
• Producers: Alberto Grimaldi
• Format: Anamorphic, Closed-captioned, Color, DVD, Widescreen, NTSC
• Language: English (Dolby Digital 1.0)
• Subtitles: English, French
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.66:1
• Number of discs: 1
• Rating: NC-17
• Studio: MGM (Video & DVD)
• DVD Release Date: November 3, 1998
• Run Time: 129 minutes
• Average Customer Review: 3.7 out of 5 stars  See all reviews (123 customer reviews)
• ASIN: 6305132917
• Amazon.com Sales Rank: #7,657 in Movies & TV (See Bestsellers in Movies & TV)

  Popular in these categories: (What's this?)

  #27 in	Movies & TV > Art House & International > European Cinema > France > Drama
  #53 in	Movies & TV > Art House & International > European Cinema > Italy

• For more information about "Last Tango in Paris" visit the Internet Movie Database (IMDb)

Editorial Reviews

Amazon.com essential video

Bernardo Bertolucci's controversial 1973 film stars Marlon Brando as an expatriate American in Paris reeling from his wife's suicide and entering into a nihilistic sexual relationship with a young woman (Maria Schneider). The film is still shocking, not simply because of its (sometime unconventional) sexual sequences, but because Brando's protagonist needs his liaison with Schneider's character to remain anonymous, an experience not to be shared but indulged on either end. Bertolucci is also operating on subtext here: in a way, Brando's nonengaging engagement is a metaphor for a certain attitude toward directing movies. Jean-Pierre Léaud costars, but the film is more than anything a vehicle for a great performance by Brando. --Tom Keogh

Product Description

Penetrate the moody, sensual world of Last Tango in Paris, and prepare yourself for "the most controversial film of its era" (Leonard Maltin). Nominated* for two Academy Awards(r)Director (Bernardo Bertolucci) and Actor (Marlon Brando)and exuding a sexual energy unlike any film before or after, this is the scintillating classic that shocked a nation...and "altered the face of an art form" (Pauline Kael). He (Brando) is a 45-year old American living in Paris, haunted by his wife's suicide. She (Maria Schneider, Jane Eyre) is a 20-year-old Parisian beauty engaged to a young filmmaker. Though nameless to each other, these tortured souls come together to satisfy their sexual cravings in an apartment as bare as their dark, tragic lives. Caught up in the frenzied beat of a carnal dance they cannot seem to stop, these unlikely lovers take their passion to erotic heightsand depthsbeyond anything they could ever have imagined.

Customer Reviews

Most Helpful Customer Reviews

139 of 143 people found the following review helpful:

5.0 out of 5 stars For Brando Fans, It Doesn't Get Better Than This!, July 17, 2004

By	Jana L. Perskie "ceruleana" (New York, NY USA) - See all my reviews (TOP 100 REVIEWER)    (REAL NAME)

Marlon Brando's recent death affected me deeply. He has always been one of my favorite actors and I truly admire him for his extraordinary talent. During the last few weeks I have rented many of Brando's films and am still amazed, after all these years, at the force of his acting in "Last Tango In Paris." I believe that some of his best work was done in this film.

Paul, (Brando), an aging American expatriate in Paris, comes home to discover that his marriage has ended. His French wife, Rosa, had slit her veins, leaving bloody bath water and spattered walls behind. She didn't leave much else - no good-bye note or explanation for her husband, parents or lover, a guest in the fleabag hotel she owned and managed. She did bequeath the hotel, and it's seedy occupants, to Paul. Overwhelmed with grief, Paul walks the streets and finds himself looking at an apartment for rent. He finds Jeanne, (Maria Schneider), a girl-woman, barely out of her teens, looking at the same apartment. She is to be married in a few weeks to her bourgeois, filmmaker fiancee. Paul and Jeanne circle each other warily in the empty flat, each contemplating the rental, (and each other), and wondering who will take it. Suddenly, they grab each other and have hard, fast sex against the apartment wall. Thus begins a most bizarre relationship.

Paul makes the rules. Jeanne must follow them or she will not see him again. Their purely carnal relationship must remain anonymous, emotionless, and exist only within the walls of the apartment, which Paul rents for this purpose. There are to be no sexual taboos between them. He does not want to know her name or anything about her and refuses to give her any information about himself. They are not to see each other outside the apartment confines, nor even leave together. It seems as if Paul wants to bury his pain, his sense of betrayal and hurt in the mindless, sometimes brutal, act of sex. Director Bernardo Bertolucci's camera perfectly captures the impersonal nature of their coupling. The shots are blunt, without sensuality or eroticism, but an enormous sexual energy is captured. I think Jeanne is fascinated by the mystery that is Paul. She is bored, perhaps, and looking for something, maybe excitement. She is certainly intrigued by Paul's dominant role, and seems to enjoy playing the passive partner most of the time. She is clearly not happy with her boyfriend, who relates to her as the object of his latest film. He talks at her, not to her. And he does not listen. However, I do not see Jeanne as merely an object here, as do some others. The film focuses on Paul, not Jeanne.

It is unfortunate that Ms. Schneider's career fizzled after this movie. She is excellent as Jeanne and perfectly captures her character's capriciousness, playfulness, bewilderment, vulnerability, anger, frustration, seductiveness and curiosity. Brando is simply superb. There are times, when he and Jeanne are together, that it appears as if he is extemporizing. He acts as if there is no camera filming him - as if he is not acting at all. There is one scene, where he is alone with his wife's body - she is layed-out in a coffin. Brando begins to speak to her and just loses it. His remarkable outpouring of guilt and grief is probably the best acting I have ever seen.

Towards the end of the film there is a surreal ballroom scene where couples are dancing the tango. It is both haunting and memorable. The end is a bit of a letdown, but in a Brandoesque moment the actor comes to the rescue.

Bertolucci was very effected by the work of painter Frances Bacon, considered to be one of the best artists of the 20th century. He chose Brando after seeing a Bacon painting "of a man in great despair who had the air of total disillusionment." The "Last Tango In Paris," defined as "the most controversial film of an era," brought Bertolucci to international attention. It was nominated for two Academy Awards. Vittorio Storaro's cinematography adds to the cold, remote ambiance. His camera pans the colorless apartment and makes the viewing experience as impersonal as the couple's relationship.

This is obviously not a film for everyone. It has been called obscene, and worse. However, there are many, like myself, who think it is a great film. For fans of Marlon Brando, it doesn't get better than this. Bravo!
JANA

25 of 28 people found the following review helpful:

5.0 out of 5 stars Brando's Best, December 14, 2001

By	Christopher Davis (Clayton NC) - See all my reviews (REAL NAME)

If there is anyone out there that wonders why Marlon Brando has
been called the greatest film actor of all time, one need only to
see this film to get their answer. Although it is somewhat dated and certainly not for everyone, Last Tango in Paris is a true
masterpiece of filmmaking.
Tame by today's standards, it is easy to see why 1972 audiences were shocked by its brutal frankness and full frontal nudity. It is a film about isolation, betrayal and confronting
one's own insecurities.
I found the beginning most difficult to believe- middle aged man begins an affair with a beautiful young woman after having met
her only moments before in an empty apartment. And then they
continue to meet for sex even though he insists that they reveal
nothing about themselves beyond the physical act of sex!
Once past this impossible beginning, we begin to learn more about
the characters- he is a lonely widower, she is engaged to a young
film student. She eventually accepts the fact that their relationship is nothing more than sexual.
Maria Schneider is very good in her role as the French girl and she seems completely comfortable with the graphic nude scenes she is in. But it is Brando who commands our complete attention. He dominates every scene and while Schneider spends a great deal of time being naked, he does not yet it is still his character that facinates us.
The film gets bogged down in some areas and many viewers may become bored with the scenes that involve some of the supporting characters. But, and trust me on this, DO NOT miss the scene in
which Brando visits the body of his dead wife. It is not a long scene but it alone is worth the price one will pay for seeing this film- be it in cash and/or time. It is a scene that all students of film and acting should be required to see. Once you have seen it I am sure you will agree- acting does not get any better than this.

17 of 18 people found the following review helpful:

5.0 out of 5 stars Not a sex film, October 7, 2005

By	David Kastrup - See all my reviews (REAL NAME)

People who are going to buy this film for erotic content are going to be disappointed. Brando and Schneider are going at each other like two wounded animals passing the time and yelling their hurt at one another. It is mostly Paul who takes the active part, but Jeanne is taking the reality of his lashings as a welcome return to bleak reality from the artificiality of her own personal life and in particular her fiance.

When others complain that outside of the scenes circling Brando the story gets thin, I think they miss the intention of the film. It is this stark naked reality of Brando which drives Jeanne into Paul's arms again and again.

And which culminates in the climax when Paul falls back from essential cruelty, domination and _life_ into superficiality like everything else.

I can't fathom why you'd be wanting to watch this with a romantic interest over a bottle of champagne as somebody else suggested.
The film is deeply unsettling unless you are bereft of any sensibility, and then you probably would not want to let your romantic interest to know.

I don't think that there is any film into which Brando invested more personal energy and life force than this one.