"Every Sexual Relationship Is Condemned": An Interview with Bernardo Bertolucci Apropos "Last Tango in Paris" Author(s): Gideon Bachmann and Bernardo. F‹7. C‹7. B¨‹7. B‹7. A‹7. D7. G‹7. C‹7. G‹7. C‹7. F‹7. B¨‹7. F‹7. C‹7. F‹7. C‹7. A. LAST TANGO IN PARIS. GATO BARBIERI.. B. ULTIMO TANGO A PARIGI. [LAST TANGO IN PARIS]. Written by. Bernardo Bertolucci & Franco Arcalli. FINAL SHOOTING. TRANSCRIPT. FADE IN: EXT. PARIS.
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LAST balsodoctforri.gq - Download as PDF File .pdf), Text File .txt) or read online. Last Tango in Paris. Last Tango in Paris - Free download as PDF File .pdf) or read online for free. PDF | On Jan 1, , Carmen M. Méndez-García and others published The Complications of the Erotic: Eroticism in Last Tango in Paris and.
However, I am going to take a different path. I think that sometimes, or even often, we only see what we are. In the sense that those who, out of the entire filmography of Bertolucci, only thought of focusing on that episode, actually have a problem themselves. And also that of his main collaborators. The crepuscular and brightly-lit photographic poetry of Vittorio Storaro expresses very well the essence of the story, as does the moving and yet vital music of Gato Barbieri.
In the same way, part of the collective authorship of this film is the unconscious existential and autobiographical confession of Marlon Brando, who often improvised and changed the script, by Bertolucci himself and the film editor Franco Arcalli. The impression that I got after the death of Bertolucci is that there has been an excessive number of articles published by people who have frequented Wikipedia more than the film and book libraries.
It perplexes me that a major newspaper can dedicate a double page spread to this great director without even mentioning his excellent director of photography Vittorio Storaro, who Bertolucci considered to be his brush and his painter, which is saying a lot. Tango was a huge audience success, but I doubt that many people made the most minimum effort to try to understand its sense or its meaning.
Beyond the obvious, what I see in Tango is a version and a cinematographic vision of the duality that was painted so often by Francis Bacon: sexual, carnal desire and its dark, monstrous or empty flipside. In the beginning there was death. Right away we find ourselves in a time of destruction, away from earthly paradise. Very soon after, follow the initial scream, comes the apparition of a woman like the promise of a new life.
Retrieved 3 December ANSA in Italian. The Washington Post. Washington DC: Nash Holdings LLC. Retrieved 5 December El Mundo de Alycia in Spanish. Yahoo Movies. Los Angeles, California: Penske Media Corporation. The Hottest Movie".
New York City: Newsweek Media Group. The Huffington Post. Huffington Post Media Group. Retrieved July 29, Meredith Corporation. Retrieved 29 July Subscription required help. The New York Times.
New York City. New York Times Company. Can it arouse the same passions now? The Independent. Independent Print Ltd.
Archived from the original on 11 March Retrieved 22 March New York Post. News Corp. Archived from the original on 14 December About Last Tango in Paris". Archived from the original on 31 October Retrieved 7 May The New York Review of Books. Chicago Sun-Times. Chicago, Illinois: Sun-Times Media Group. Retrieved 22 March — via rogerebert. Rotten Tomatoes. Fandango Media. Retrieved 11 March Can it Arouse the Same Passions Now?
Another tango with the master of taboo". Last Tango in Paris". Australian Classification Board. Retrieved 16 February The New York Times , 2 February , pg. The Guardian. London, England. Archived from the original on 14 June Retrieved 20 October Beverly Hills: Retrieved 27 August Arcalli, Franco ; Bertolucci, Bernardo Bernardo Bertolucci's Last Tango in Paris, the screenplay.
New York: Delacorte Press. Tonetti, Claretta Micheletti Bernardo Bertolucci, The Cinema of Ambiguity. Twayne Publishers. Films directed by Bernardo Bertolucci. Agony Histoire d'eaux Authority control GND: France portal Italy portal s portal Film portal. Retrieved from " https: Hidden categories: Namespaces Article Talk.
Views Read Edit View history. In other projects Wikimedia Commons Wikiquote. You'll end the characters,and of the relationshipI develop up making anotherLove Story!
But I quickly with the thingsand the spacesI findmyself film- realized, shooting, that when you show the ing. It is through the camera that I begin to depths,when you drown yourself, as it were, in understandthe things and the people. That is that feeling of solitude and death that attaches why I am constantly open to learning and ab- to a relationshipin our Western, bourgeoisso- sorbinginto the film that which the filmingitself ciety, and when you beginto identifythe reasons reveals, even if that should be in contradiction for this feeling of death, you inevitablymake a with what I have writteninto the script.
With Brandoand Maria my subconsciousre- Do you consider the search for "didactic," lationshipwas extremely intense, but I think I anonymous sex an antidote for this feeling of managednot only to drop most of my defenses, death in our society? I felt, In the film, sex is simply a new kind of lan- finally,that this firstfilm I was makingaboutthe guage that these two characterstry to invent in present was being made without any sort of orderto communicate.
They use the sexual lan- defenses, without excuses, of either a historical, guage becausethe sexuallanguagemeanslibera- narrative,or even a politicalnature.
In no way, on the other hand, do I mean to identify sex with the feeling of death, either. I am not setting up any eros-thanatos theory.
I am simply saying that when you describe a re- lationship thirsting for authenticity, you discover all that surrounds it, all that hampers its ex- pression. In any case, you link the concepts of sexual expression and personal liberation.
Do you feel that self-liberation must be a conscious process? Self-liberation in the sense I employ the term is a first step towards living better, towards the finding of an equilibrium with your subcon- scious, towards the finding of a peaceful rela- have been useful to me in understanding the tionship with your subconscious.
These first characters of my film. For example, how an steps can often be very dramatic, since we tend encounter turns into a clash. Or, to quote Maria, to suppress our own attempts at making them.
We suppress our aggressions and frustrate our I cannot deny a certain educational structure souls. Since that which is between Marlon and and background, of which Marx and Freud form Maria is a sort of amour fou that continually part, but I try and see them in a political, existen- devours itself, I had been afraid it would seem tial way. In making Last Tango, I found that isolated.
Instead it became a centrally sympto- what I had considered points of arrival were in matic affair for our times. One can also become conscious of the personal structures, but it did help me in accept- meaning of one's actions in a completely irra- ing them as living beings in front of the camera, tional manner.
In fact, "becoming conscious" and in accepting their contributions to the film. This does not mean ships that a film creates in a direct way, without that I reject psychoanalysis or other systems of logical or rational references. You could say, reaching consciousness, but I feel the system of course, that the film is a form of dream, that must be different for each one of us.
I feel myself be- And his story could be another oedipal coming conscious, but in an extremely emo- projection-he feels, in a way, that he is as much tional, instinctive fashion. But I refuse to limit my reading of The viewer, then, for you becomes an essen- their meanings to the conventional interpreta- tial component of the work? But I cannot think from the fact that you felt your political con- about it when I am shooting.
After all, every cerns could not be well expressed in the spec- conversation one undertakes-and a film is a tacularform, or because you found it difficult conversation-presupposes the presence of a to give up the idea you expressedten years ago, partner. In the case of poetry, my interlocutor is of the camera itself being the most important the reader, in the case of the cinema it is the subjectof your work?
I do not like to talk alone, and I do not I haven't really given it up. I had arrivedat talk alone. I do not talk for myself, I mean. Besides the fact instrument for understanding the world. And I that this film caused me a tremendouspsycho- think this is true for both creator and viewer. ParadoxicallyI now find-now, af- I exploit it by giving myself, but I am also ter having finished and discussed it-that Last exploited.
It's a two-way relationship. By the Tango is, of all my films, the one most closely way, I find more and more that there is no such related to Partner. Now that I have fully ac- thing in human congress as innocence and guilt. And you can't even say that research and of experimentationwhich in the he who offers is innocent and he who demands makingof The Spider'sStratagemand The Con- is guilty, or vice versa.
And this applies to per- formist I had deftly avoided as if they were the sonal, sentimental relationships as well: This means that now, with the securityI are never faults.
And as far as the public is con- derivefrom the show element,I can startafresh.
No, perhaps the offer has changed. I also feel, You don't mean in the spoofing sequences, by the way, that my films, deep down, are quite where Jean-PierreLeaud satirizesGodard?
Jean Pierre is not meant as a Perhaps part of my process of liberation was serious Godard character,rather as a character the acceptance of the fact that I had always a la JerryLewis, perhaps.
His partis superficial wanted to create a spettacolo.
It took me a long and strictlyfunctional. He could also have been time to accept this idea, although even my first a carpenter. The reflectionson the use of the 8mm films, made with my cousins when we were camera are in all the rest.
In that sense I don't children, told stories, rather than just document- think I have changedsince we discussedall this ing the death of a pig or the vain search for an ten years ago. I still feel I am looking for the abandoned cable car in a forest.
But I think very specific light that is typical and expressive that only with The Conformist I really accepted of every feeling and of every epoch, and I still the role of author of story films. What he is doing to her, thus, is a sort through time, in the historical and in the prac- of didactic savagery.
That, in fact, is what holds Do you mean to tell me that he uses perversion Tangotogether,as I see it now: Brando'sretreat in the guise of anti-bourgeois teaching? He is conscious, cent and finallydying like a foetus. Jean-Pierre, but also divided, in that moment, between his filminghis life with Maria,at one point, pushing consciousness and the pleasure of perversion.
That is exactly the percorso of the in that moment serves him as an escape.