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Your performance got excellent reviews–not just from Kael.īut Bertolucci was faulted for casting Maria Schneider, who was only 20, with almost no acting experience.ĭo you think the film would have worked better with a more experienced actress like Dominique Sanda or Stephane Audran?Įach had been approached before Schneider, though neither could do it because of prior commitments. In which of your films have you acted better than in Tango? It was not even remotely a great film and I’ve done better acting. Pauline Kael went off the deep end on Tango. She compared its impact to Stravinski’s Rite of Spring. What did you think of New Yorker critic Pauline Kael’s rave review of the film, especially of your performance. Were you angry at Bertolucci for encouraging you to act in that painful “method” way? Unlike theater–serious theater–it’s easy to do movies from the outside-in. I exposed myself in a way that I’d never expose myself again. The way I do it everything is evoked from my past, which meant recalling shit I should have kept buried. Initially, Bertolucci wanted to cast Jean-Louis Trintignant in the leading role. Only his dream-space is fucking, which is awesome but limited. That they exist–however briefly–as though in suspension?īecause he values dream-space, alienation, suspension, more than so-called real time. Why does he insist that he and Jeanne not grant any personal info to the other? If existential and angst don’t apply, why is the leading character Paul in such a rage? Why does he weep? Like existential and angst, it sounds provocative. I like Bacon’s work but it has nothing at all to do to do with the film.īacon’s work has nothing to do with the film you can’t describe?Īfter Tango Bertolucci said about you that you are an angel as a man and a devil as an actor? What did he mean? Justifying those Francis Bacon tableaus he used as the credits rolled. Though he pretended to, throwing around words like “existential” and “angst.” I don’t know that I can describe either one. He was directing one film and I was acting in a different film. Though Maria said later that she’d felt violated. Just a little of that French sweet butter. The butter scene couldn’t have been in the script. Would you have liked to fuck Maria Schneider onscreen? Why would she want to fuck a fat old man onscreen? Was your co-star Maria Schneider relieved or disappointed that you two didn’t actually fuck? He didn’t know what he meant until he said it.Īfter saying it he still didn’t know what he meant. What did Bertolucci mean when he shouted out to you on the set: You are the embodiment of my prick? That your penis was reduced to the size of a peanut. You wrote in your autobiography that you couldn’t get an erection. I told him I didn’t see the film that way, so he backed off. You’re one of the very few macho male stars who cry a lot.īertolucci wanted frontal nudity, real fucking.
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Jeanne is a 20-year-old Parisian actress.ĭotted through the film are couples dancing the tango in an exaggerated way to loud campy music. Paul is a 45-year-old American whose wife Rose just committed suicide with his shaving razor. Paul insists they not confide anything of their past. Orchestrated by Paul, the two have an ongoing affair in the vacant apartment. let's just say extreme displeasure in making the film.Paul and Jeanne–Marlon Brando and Maria Schneider–meet inadvertently at an apartment for rent in the Passy quarter of Paris. Hell, in a meta-example, her actress also counts, considering her. The Woobie: Jeanne she's in two relationships and neither seems particularly good for her.True Art Is Angsty: An oft-named example of this trope.There's also the fact that Schneider was only 19 at the time of filming, while Brando was in his late 40s.Much like Schneider, Brando later said he "felt raped and manipulated" by the film. Brando refused to speak to Bertolucci for 15 years after the production was completed.
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I will never make another film like that". Brando said to Bertolucci at the time, "I was completely and utterly violated by you. She also claimed that Brando and Bertolucci "made a fortune" from the film while she made very little money. In 2011, Bertolucci denied that he "stole her youth" (she was 19 at the time of filming), and commented, "The girl wasn't mature enough to understand what was going on." Schneider remained friends with Brando until his death, but never made up with Bertolucci. Schneider said that making the film was her life's only regret, that it "ruined her life", and that she considers Bertolucci a "gangster and a pimp". Many people hated its treatment of actors, Maria Schneider and Marlon Brando, by the film's director, Bernardo Bertolucci.