Title : “Politics was part of our life. People don’t seem involved or passionate anymore; politics is something distant."
link : “Politics was part of our life. People don’t seem involved or passionate anymore; politics is something distant."
“Politics was part of our life. People don’t seem involved or passionate anymore; politics is something distant."
And: "I was a Marxist with all the love, all the passion, and all the despair one can expect from a bourgeois who chooses Marxism."2 quotes from Bernardo Bertolucci, from his obituary in the NYT. The director of "Last Tango in Paris" and "The Last Emperor" breathed his last this morning at the age of 77.
The obituary reminds us that some reviewers at the time, back in 1973, did not admire "Last Tango in Paris" and that the NYT own critic, Grace Glueck, called it "the perfect macho soap opera." I'm more familiar with the rave review of all rave reviews by Pauline Kael...
The film critic Pauline Kael proclaimed it “the most powerfully erotic movie ever made” and likened its premiere to the first performance of Stravinsky’s “Rite of Spring.”... so I'm going to take the trouble to read "I Won't Tango, Don't Ask Me," by Grace Glueck (March 1973).
IF, as my male filmgoing friends assure me, there is such a thing as a “woman's picture,” i.e., one that plays up to the romantic sexual fantasies of housewives, then “Last Tango in Paris” can surely be regarded as its male counterpart — the perfect macho soap opera. From the film's beginning, when its he‐man heel‐hero, Paul, engages a compliant Parisian playgirl, Jeanne, in a genital collision, through the very end, where Jeanne reacts to his aggressions with a violence that metaphorically expresses her own sexual rage, its fantasies comfortably reinforce the misogynist stereotypes that have always enabled men to regard women as something less than emotional peers....
[I]n keeping with the conventions of art and pornography in the Western world, [we never clearly see Paul (Marlon Brando) naked, and] the camera focuses frequently and frontally on Jeanne in her birthday suit....
[The two characters] embark on a game plan: They will meet at the apartment for sex only, avoiding all reference to their outside lives. This stylized — well, tango—is led, of course, by Paul. And it is he who is free to break the step, revealing fragments of his barren emotional life with the depth of a Holden Caulfield while abruptly dismissing any attempts on Jeanne's part to give voice to hers....
In the apartment, masochist Jeanne takes sex from sadist Paul as, in his hostility, he dispenses it. And often (as in the now famous butter‐and‐sodomy scene) it hurts. (Male fantasy: Women may protest, but they really wallow in rough handling; it's good for their souls.) At one point in the throes of aging adolescence, Paul, bids Jeanne insert her fingers in his anus to explore a notion he has about death; at another, he dangles a dead rat before her horrified face. But he has his tender moments; in one, he gives Jeanne a bath with a paternal condescension that might suit a 3‐year4old. (Male fantasy: Treat women as little girls; it fulfills their need for protection.)...
The rage that led to [[SPOILER ALERT] Jeanne's shooting Paul to death] is motivated, but again the act itself is focused on Paul.... [W]hat Bertolucci is really saying is (male fantasy): See what happens when you strip yourself bare for a woman?
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