Last Tango in Paris

Template:Short description Template:EngvarB Template:Use dmy dates Template:Infobox film Last Tango in Paris (Template:Langx; Template:Langx) is a 1972 erotic drama film directed by Bernardo Bertolucci. The film stars Marlon Brando, Maria Schneider and Jean-Pierre Léaud, and portrays a recently widowed American who begins an anonymous sexual relationship with a young Parisian woman.

The film premiered at the New York Film Festival on 14 October 1972 and grossed $36 million in its U.S. theatrical release,<ref name=mojo>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> making it the seventh highest-grossing film of 1973. The film's raw portrayal of rape and emotional turmoil led to international controversy and drew various levels of government censorship in different jurisdictions. Upon release in the United States, the MPAA gave the film an X rating. United Artists Classics released an R-rated cut in 1981. In 1997, after the film became part of the Metro-Goldwyn-Mayer library, the film was reclassified as NC-17.

Plot

Paul, a middle-aged American hotel owner mourning the suicide of his wife Rosa, meets a young, engaged Parisian woman named Jeanne at an apartment that both are interested in renting. Paul takes the apartment after they begin an anonymous sexual relationship there. He insists that they not share any personal information, even given names, much to Jeanne's dismay. At one point in their relationship, he rapes her. Despite this, she tells him that she tries to leave him, but can't bring herself to do it. The affair of Paul and Jeanne continues for some time until Paul decides to leave Jeanne, after which she arrives at the apartment and finds that he has packed up and left without warning.

After attending his wife's viewing, Paul meets Jeanne on the street and says he wants to renew the relationship. He tells her of the recent tragedy of his wife. As he tells his life story, they walk into a tango bar, where he continues telling her about himself. The loss of anonymity disillusions Jeanne about their relationship. She tells Paul she does not want to see him again. Paul, not wanting to let Jeanne go, chases her through the streets of Paris. While running, she continually yells at him to go away and tells him that their relationship is over. Despite her threats to call the police, he chases her all the way back to her building where she is living with her mother and forces his way into her apartment. He mocks her for running away from him, followed by him saying he loves her and wants to know her name.

Jeanne takes a gun from a drawer. She tells Paul her name and shoots him. Paul staggers out onto the balcony, mortally wounded, and collapses. As Paul dies, Jeanne, dazed, mutters to herself that he was just a stranger who tried to rape her and she did not know who he was, as if in a rehearsal preparing herself for questioning by the police.

Cast

• Marlon Brando as Paul, an American expatriate and hotel owner
• Maria Schneider as Jeanne, a young Parisian woman
• Jean-Pierre Léaud as Thomas, a film director and Jeanne's fiancé
• Maria Michi as Rosa's mother
• Massimo Girotti as Marcel, Rosa's former lover
• Giovanna Galletti as the prostitute, an old acquaintance of Rosa
• Catherine Allégret as Catherine, a maid at Paul and Rosa's hotel
• Gitt Magrini as Jeanne's mother
• Luce Marquand as Olympia, Jeanne's former childhood nurse
• Dan Diament as the TV sound engineer
• Catherine Sola as the script girl
• Mauro Marchetti as the TV cameraman
• Peter Schommer as the TV assistant cameraman
• Catherine Breillat as Mouchette, a dressmaker
• Marie-Hélène Breillat as Monique, a dressmaker
• Darling Légitimus as the Concierge
• Veronica Lazăr as Rosa, Paul's deceased wife
• Armand Abplanalp as the prostitute's client
• Rachel Kesterber as Christine
• Ramón Mendizábal as the Tango orchestra leader
• Mimi Pinson as the President of Tango jury
• Gérard Lepennec as the tall furniture mover
• Stéphane Koziak as the short furniture mover
• Michel Delahaye (scenes deleted) as the Bible salesman
• Laura Betti (scenes deleted) as Miss Blandish
• Jean-Luc Bideau (scenes deleted) as the Barge CaptainTemplate:Sfn
• Gianni Pulone (scenes deleted)
• Franca Sciutto (scenes deleted)

Production

File:Bir-Hakeim-1.jpg

The Pont de Bir-Hakeim in Paris, where numerous scenes were shot

Bernardo Bertolucci developed the film from his sexual fantasies: "He once dreamed of seeing a beautiful nameless woman on the street and having sex with her without ever knowing who she was."<ref name="Taylor">Template:Cite news</ref> The screenplay was by Bertolucci, Franco Arcalli, and Agnès Varda (additional dialogue). It was later adapted as a novel by Robert Alley. The film was directed by Bertolucci with cinematography by Vittorio Storaro.

Bertolucci originally intended to cast Dominique Sanda, who developed the idea with him, and Jean-Louis Trintignant. Trintignant refused and, when Brando accepted, Sanda was pregnant and decided not to do the film.<ref name="Taylor" /> Brando received a percentage of the gross for the film and was estimated to have earned $3 million.<ref>Template:Cite magazine</ref>

Maria Schneider stated in 2001 that her role in the original script was intended to be played by a boy.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

An art lover, Bertolucci drew inspiration from the works of the Irish-born British artist Francis Bacon for the opening sequence of cast and crew credits.<ref>Template:Cite magazine</ref> According to American artist Andy Warhol, Last Tango was based on Warhol's own Blue Movie film released a few years earlier in 1969.<ref name="WS-2002-2005">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Rape scene

The film contains a scene in which Paul anally rapes Jeanne using butter as a lubricant. While the rape is simulated, Schneider has said the scene still had a tremendously negative effect on her. In a 2006 interview, Schneider said that the use of butter was not in the script and that "when they told me, I had a burst of anger. Woo! I threw everything. And nobody can force someone to do something not in the script. But I didn't know that. I was too young."<ref name="Downhill Ride">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2007, Schneider recounted feelings of sexual humiliation pertaining to the rape scene:

They only told me about it before we had to film the scene and I was so angry. I should have called my agent or had my lawyer come to the set because you can't force someone to do something that isn't in the script, but at the time, I didn't know that. Marlon said to me: 'Maria, don't worry, it's just a movie', but during the scene, even though what Marlon was doing wasn't real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. After the scene, Marlon didn't console me or apologize. Thankfully, there was just one take.<ref>Template:Cite news</ref>{{#if:|{{#if:|}}

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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."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> She claimed that Brando and Bertolucci "made a fortune" from the film while she made very little money.<ref>Template:Cite magazine</ref>

Schneider died in 2011. In February 2013, Bertolucci spoke about the film's effect on Schneider in an interview on the Dutch television show College Tour, saying that although the rape scene was in the script, the detail of using butter as a lubricant was improvised the day of shooting and Schneider did not know about the use of the butter beforehand. Bertolucci said that "I feel guilty, but I don't regret it."<ref>"Bernardo Bertolucci" Template:Webarchive, Dutch College Tour, NTR, 2 February 2013,</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref> In September 2013, Bertolucci spoke again about the scene at a retrospective at the Cinémathèque Française, claiming that the scene was in the script but the use of butter was not. Bertolucci said that he and Brando "decided not to say anything to Maria to get a more realistic response".<ref name="ansa">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In November 2016, a slightly different version of the 2013 College Tour interview was uploaded to YouTube<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Cbignore</ref> by the Spanish non-profit El Mundo de Alycia on the International Day for the Elimination of Violence against Women,<ref name="izadi">Template:Cite news</ref> accompanied by a statement concluding that the scene "abused [Schneider] psychologically and, who knows if also, physically..."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This gained attention when Yahoo! Movies writer Tom Butler wrote an article about it,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> prompting several celebrities to condemn the film and Bertolucci,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and a number of newspapers picked up on the story, reporting that Bertolucci had confessed to Schneider being raped on set, prompting Bertolucci to release a statement, clarifying that a simulation and not an actual intercourse took place.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="izadi" />

Bertolucci also shot a scene which showed Brando's genitals, but in 1973 explained, "I had so identified myself with Brando that I cut it out of shame for myself. To show him naked would have been like showing me naked."<ref name="The Hottest Movie">Template:Cite magazine</ref> Schneider declared in an interview that "Marlon said he felt raped and manipulated by it and he was 48. And he was Marlon Brando!"<ref name="The Hottest Movie"/> Like Schneider, Brando confirmed that the sex was simulated.<ref name=izadi/> Brando refused to speak to Bertolucci for 15 years after the production was completed. Bertolucci said:

I was thinking that it was like a dialogue where he was really answering my questions in a way. When at the end of the movie, when he saw it, I discovered that he realized what we were doing, that he was delivering so much of his own experience. And he was very upset with me, and I told him, "Listen, you are a grown-up. Older than me. Didn't you realize what you were doing?" And he didn't talk to me for years.<ref>{{#invoke:citation/CS1|citation

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Francis Bacon influence

File:FrancisBacon-StudyforPortraitofIsabelRawsthorne.jpg

Double Portrait of Lucian Freud and Frank Auerbach (left side, oil on canvas, 1964)

File:FrancisBacon-PortraitofIsabelRawsthorne.jpg

Study for a Portrait of Isabel Rawsthorne (oil on canvas, 1964)

The film's opening credits include two paintings by Francis Bacon: Double Portrait of Lucian Freud and Frank Auerbach and Study for a Portrait of Isabel Rawsthorne. The hues used in the film were inspired by the paintings of Bacon.Template:Sfn During pre-production, Bertolucci frequently visited an exhibit of Bacon's paintings at the Grand Palais in Paris; he said that the light and colour in Bacon's paintings reminded him of Paris in the winter, when

the lights of the stores are on, and there is a very beautiful contrast between the leaden gray of the wintry sky and the warmth of the show windows...the light in the paintings was the major source of inspiration for the style we were looking for.Template:Sfn

Bacon's painting style often depicted human skin like raw meat and the painter's inspiration included meat hanging in a butcher shops window and human skin diseases.Template:Sfn

Cinematographer Vittorio Storaro had previously worked with Bertolucci on The Conformist and often used an azure hue in the film. Storaro later told a reporter that

after The Conformist I had a moment of crisis; I was asking myself: what can come after azure?...I did not have the slightest idea that an orange film could be born. We needed another kind of emotion...It was the case of Last Tango.Template:Sfn

For Last Tango in Paris, Bertolucci and Storaro took inspiration from Bacon's paintings by using "rich oranges, light and cool grays, icy whites, and occasional reds combine[d] with Bertolucci's own tasteful choices of soft browns, blond browns, and delicate whites with bluish and pink shadings".Template:Sfn

Bertolucci took Marlon Brando to the Bacon exhibit and told Brando that he "wanted him to compare himself with Bacon's human figures because I felt that, like them, Marlon's face and body were characterized by a strange and infernal plasticity. I wanted Paul to be like the figures that obsessively return in Bacon: faces eaten by something coming from the inside."Template:Sfn

Brando's lines

As was his practice in previous films, Brando refused to memorize his lines for many of the scenes. Instead, he wrote his lines on cue cards and posted them around the set, leaving Bertolucci with the problem of keeping them out of the picture frame. During his long monologue over the body of his wife, for example, Brando's dramatic lifting of his eyes upward is not spontaneous dramatic acting but a search for his next cue card.<ref name="SelfPortrait">Template:Cite magazine</ref> Brando asked Bertolucci if he could "write lines on Maria's rear end", which the director rejected.<ref name="The Hottest Movie"/>

Soundtrack

{{safesubst:#invoke:Unsubst-infobox||$params=italic_title,name,type,longtype,artist,cover,border,alt,caption,released,recorded,venue,studio,genre,length,language,label,director,producer,compiler,chronology,prev_title,prev_year,year,next_title,next_year,misc|$extra=italic_title,longtype,border,caption,language,director,compiler,chronology,year,misc|$aliases=italic title>italic_title,Italic title>italic_title,Name>name,Type>type,image>cover,Cover>cover,Border>border,Alt>alt,Caption>caption,Longtype>longtype,Artist>artist,Released>released,Recorded>recorded,Venue>venue,Studio>studio,Genre>genre,Length>length,Language>language,Label>label,Director>director,Producer>producer,Compiler>compiler,Chronology>chronology,Misc>misc|$flags=override|$B={{#ifeq:{{#invoke:Is infobox in lead|main|[Ii]nfobox [Aa]lbum}}|true|{{#if:Template:Has short description | |Template:Short description|noreplace}}}}{{#invoke:Infobox|infobox}}Template:Template otherTemplate:Category handlerTemplate:Main other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox album with unknown parameter "_VALUE_"|ignoreblank=y|italic_title |type |name |image |cover |border |alt |caption |longtype |artist |released |recorded |venue |studio |genre |length |language |label |director |producer |compiler |prev_title|prev_year|next_title|next_year|chronology|year|misc}}{{#if:{{#invoke:String|match|error_category=Music infoboxes with Module:String errors|A|1=Under Fire1971Bolivia1973soundtrackLast Tango in ParisGato Barbieri197320–25 November 1972
Rome ItalyFilm scoreUnited Artists
UA-LA-045-FAlberto GrimaldiGato Barbierix|2=</?t[drh][ >]|nomatch=}}|Template:Main other}}Template:Main other}} Template:Music ratings The film score was composed by Gato Barbieri, arranged and conducted by Oliver Nelson, and the soundtrack album was released on the United Artists label.<ref name="UA discography">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> AllMusic's Richie Unterberger noted "Although some of the smoky sax solos get a little uncomfortably close to 1970s fusion cliché, Gato Barbieri's score to Bertolucci's 1972 classic is an overall triumph. Suspenseful jazz, melancholy orchestration, and actual tangos fit the film's air of erotic longing, melancholy despair, and doomed fate".<ref name="Allmusic">{{#ifeq: | yes | https://www.allmusic.com/album/mw0000599359{{

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   #if: Last Tango in Paris – Review
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}}</ref> The soundtrack includes "Six Penny Ride" by Trevor Duncan (1924-2005).

Track listing

All compositions by Gato Barbieri.

1. "Last Tango in Paris - Tango" – 3:23
2. "Jeanne" – 2:34
3. "Girl in Black - Tango (Para mi Negra)" – 2:06
4. "Last Tango in Paris - Ballad" – 3:43
5. "Fake Ophelia" – 2:57
6. "Picture in the Rain" – 1:51
7. "Return - Tango (La Vuelta)" – 3:04
8. "It's Over" – 3:15
9. "Goodbye (Un Largo Adios)" – 2:32
10. "Why Did She Choose You?" – 3:00
11. "Last Tango in Paris - Jazz Waltz" – 5:44

Personnel

• Gato Barbieri – tenor saxophone, flute, vocal
• Franco D'Andrea – piano
• Franco Goldani, Wolmer Beltrani – accordion
• Jean-François Jenny-Clark, Giovanni Tommaso – bass
• Pierino Munari – drums
• Afonso Vieira – percussion, berimbau
• Ivanir "Mandrake" do Nascimento – percussion, tambourine
• Orchestra arranged and conducted by Oliver Nelson

Reception

The film premiered as the closing film at the New York Film Festival on 14 October 1972, with high demand and enormous public controversy. The film did not have any press screenings due to concerns that the film was being shown against Italian law after the Italian censors had not passed the film. The lack of screenings increased demand for the film with some offering $100 to buy a ticket.<ref>Template:Cite magazine</ref>

The film opened in late 1972 in France, where filmgoers stood in two-hour queues for the first month of its run at the seven cinemas where it was screened.<ref name="SelfPortrait"/> It gained unanimous positive reviews in every major French publication.<ref>Template:Cite news</ref> To circumvent Spanish state censorship, thousands of Spaniards travelled hundreds of kilometers to reach French cinemas in Biarritz and Perpignan where Tango was playing.<ref>Template:Cite news</ref> Following that, it was released in the United States, Great Britain, and other venues.

The film generated considerable controversy because of its subject and graphic portrayal of sex. Schneider provided frank interviews in the wake of TangoTemplate:'s controversy, claiming she had slept with 50 men and 20 women, that she was "bisexual completely", and that she had used heroin, cocaine, and marijuana. She also said of Bertolucci, "He's quite clever and more free and very young. Everybody was digging what he was doing, and we were all very close."<ref>Template:Cite news</ref>

During the publicity for the film's release, Bertolucci said Schneider developed an "Oedipal [sic] fixation with Brando".<ref name="The Hottest Movie"/> Schneider said Brando sent her flowers after they first met, and "from then on he was like a daddy".<ref name="SelfPortrait"/> In a later interview, Schneider denied this, saying, "Brando tried to be very paternalistic with me, but it really wasn't any father-daughter relationship."<ref name="The Hottest Movie"/> However, in 2007, she said that "for me, he was more like a father figure and I a daughter."<ref>Template:Cite newsTemplate:Cbignore</ref>

In Italy, the film was released on 15 December 1972, grossing an unprecedented $100,000 in six days.<ref>Template:Cite news</ref> One week later, however, police seized all copies on the order of a prosecutor, who defined the film as "self-serving pornography", and its director was put on trial for "obscenity". Following first degree and appeal trials, the fate of the film was sealed on 26 January 1976 by the Italian Supreme Court, which sentenced all copies to be destroyed (though some were preserved by the National Film Library). Bertolucci was served with a four-month suspended sentence in prison and had his civil rights revoked for five years, depriving him of voting rights.<ref name="Stealing Beauty">Template:Cite news</ref> It grossed 7 billion lire ($3.9 million) in its initial release in Italy. It was re-released in 1987 where it grossed an additional 5 billion lire ($2.7 million). In 2000, it was listed as the second-highest grossing Italian film in Italy adjusted for inflation.<ref>Template:Cite magazine</ref>

Response in United States

The film opened February 1, 1973 at the Trans-Lux East in New York City with a $5 ticket price and advance sales of $100,000,<ref name=usopen>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> grossing $41,280 in its first week.<ref>Template:Cite magazine</ref> The media frenzy surrounding the film generated intense popular interest as well as moral condemnation, and the film was featured in cover stories in both Time and Newsweek<ref name="The Hottest Movie"/> magazines. Playboy published a photo spread of Brando and Schneider "cavorting in the nude".<ref name="The Hottest Movie"/> Time wrote,

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The Village Voice reported walkouts by board members and "vomiting by well-dressed wives".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Columnist William F. Buckley and ABC's Harry Reasoner denounced the film as "pornography disguised as art".<ref name="The Hottest Movie"/>

After local government officials failed to ban the film in Montclair, New Jersey, theatergoers had to push through a mob of 200 outraged residents, who hurled epithets like "perverts" and "homos" at the attendees. Later, a bomb threat temporarily halted the showing.<ref>Template:Cite news</ref> The New York City chapter of the National Organization for Women denounced the film as a tool of "male domination".<ref>Template:Cite news</ref>

The film's scandal centred mostly on an anal rape scene, featuring Paul's use of butter as a lubricant.<ref>Template:Cite news</ref> According to Schneider, the scene was not in the original script, but was Brando's idea.<ref name="Downhill Ride"/> Other critics focused on when the character Paul asks Jeanne to insert her fingers in his anus, then asks her to prove her devotion to him by, among other things, having sex with a pig. Vincent Canby of The New York Times described the film's sexual content as the artistic expression of the "era of Norman Mailer and Germaine Greer"<ref>Template:Cite news</ref> and was upset about the high ticket price.<ref name=usopen/>

Film critic Pauline Kael endorsed the film,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> writing that "Tango has altered the face of an art form. This is a movie people will be arguing about for as long as there are movies."<ref name="SelfPortrait"/> She called it "the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made."Template:Sfn United Artists reprinted the whole of Kael's rave as a double-page advertisement in the Sunday New York Times. Kael's review of Last Tango in Paris is regarded as the most influential piece of her career.<ref>Template:Cite news</ref>

Many feminist film critics disliked the film. In a 1974 review in Jump Cut, E. Ann Kaplan criticized it for featuring "a one-sided relationship seen mostly through Paul's eyes."<ref>Template:Cite journal</ref> In Women and Their Sexuality in the New Film, (1974) one of the first explicitly feminist books on film, Joan Mellen complains about a similar issue, that Jeanne constantly gives way to Paul, "the man who is made more interesting in every way."<ref>Template:Cite book</ref> However, a few did enjoy it, such as Molly Haskell, who responded to feminist criticism in From Reverence to Rape: The Treatment of Women in the Movies (1974) by noting that women more than men seemed to respond to the film, and that female sexual fantasies can include "rape, sadism, submission, liberation, and anonymous sex."<ref>Template:Cite book</ref>

The American critic Roger Ebert repeatedly described Kael's review as "the most famous movie review ever published", and he added the film to his "Great Movies" collection.<ref>Template:Cite news</ref> American director Robert Altman expressed unqualified praise: "I walked out of the screening and said to myself, 'How dare I make another film?' My personal and artistic life will never be the same."<ref name="The Hottest Movie" />

Review aggregation website Rotten Tomatoes retrospectively collected 44 reviews and gave the film an approval rating of 82%, with an average rating of 7.8/10. The website's critical consensus reads, "Naturalistic but evocative, Last Tango in Paris is a vivid exploration of pain, love, and sex featuring a typically towering Marlon Brando performance."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Template:Metacritic film prose<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2004, director Martin Scorsese compared this "towering Brando performance" to the actor's turn as Terry Malloy in On the Waterfront (1954) and noted that "[w]hen you watch his work in ... Last Tango in Paris, you're watching the purest poetry imaginable, in dynamic motion".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Ethan Hawke considered Brando's work a seminal moment in the movement of performance. Praising both the star and the director of the film, Hawke told Richard Linklater and Louis Black that, "Brando upped [On the Waterfront] with Last Tango."<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Pauline Kael, in her aforementioned review, had echoed the same sentiments by saying, "On the screen Brando is our genius as [Norman] Mailer is our genius in literature … Paul feels so 'real' and the character is brought so close that a new dimension in screen acting has been reached."

Richard Brody of The New Yorker praised the personal nature of Brando's role, commenting in his review of Listen to Me Marlon (2015) that,

"When Brando said what he himself had to say, it was indeed of a unique value. That's why the best of Brando is when he's closest to himself, as in ... Bernardo Bertolucci's Last Tango in Paris, from 1972. It isn't only his words that are better than those of the screenwriters; his persona, his character, is greater than those that are scripted."<ref>Template:Cite magazine</ref>

In 2019, actor Brad Pitt said the film from the past he'd most like to have starred in is Last Tango in Paris, "Brando. That one hurts."<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref> Premiere had named Brando's performance the 27th-greatest film performance of all time in April 2006.<ref>Template:Cite news</ref>

The film was given a nationwide release on February 7, 1973, and grossed $36 million in the United States and Canada,<ref name=mojo/> the seventh highest-grossing film of 1973.

Other international responses

British censors reduced the duration of the sodomy sequence before permitting the film to be released in the United Kingdom,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> though it is not cut in later releases. Mary Whitehouse, a Christian morality campaigner, expressed outrage that the film had been certified "X" rather than banned outright, and Labour MP Maurice Edelman denounced the classification as "a licence to degrade".<ref>Template:Cite news</ref>

The film was censored in Spain during the Franco regime and was not released until December 1977.<ref>Giniger, Henry. "Spaniards Seeing 'Tango' in France". The New York Times, 16 de abril de 1973, pg. 49</ref> Chile banned the film entirely for nearly thirty years under its military government,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the film was similarly suppressed in Portugal, until the Carnation Revolution in 1974, when its première became an example of the freedom democracy allows.<ref name="tonight ggs">Template:Cite news</ref> The same happened in Brazil during the period of military dictatorship when the film was censored, until it was finally released in 1979.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Other countries that banned it include Argentina,<ref name="google1969">Template:Cite book</ref> South Korea,<ref>Template:Cite news</ref> Singapore,<ref name="tonight ggs" /><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Venezuela.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In Australia, the film was released uncut with an R certificate by the Australian Classification Board on 1 February 1973. It received a VHS release by Warner Home Video with the same classification on 1 January 1987, forbidding sale or hire to anyone under the age of 18.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In Canada, the film was banned by the Nova Scotia Board of Censors, leading to the landmark 1978 Supreme Court of Canada split decision in Nova Scotia (Board of Censors) v McNeil, which upheld the provinces' right to censor films.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Legacy

Being Maria, a film based on Maria Schneider's experiences working on Last Tango in Paris, was released in 2024, having its premiere at the 77th Cannes Film Festival.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The film was directed by Jessica Palud and adapted from Vanessa Schneider's 2018 memoir My Cousin Maria Schneider.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Also released in 2024, the biopic Waltzing with Brando depicts the period between 1969 and 1974 in which Brando was preparing to star in The Godfather and Last Tango in Paris.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref>

Cinémathèque française screening controversy

In December 2024, a planned screening of Last Tango in Paris at the Parisian theater Cinémathèque française was cancelled after women's rights groups protested the showing due to the film's infamous rape scene. French actress Judith Godrèche also protested the theater's decision to show the film without context given to the rape scene, writing on Instagram: "It’s time to wake up, dear Cinémathèque, and restore humanity to a 19-year-old actor by behaving humanely." The cinema's director, Frédéric Bonnaud, stated that the decision to pull the film was because "We are a cinema, not a fortress. We cannot take risks with the safety of our staff and audience," and stated that "Violent individuals were beginning to make threats and holding this screening and debate posed an entirely disproportionate risk."<ref>Template:Cite news</ref> His statements led to further criticism from feminist groups, who accused him as posing as a victim, and stating he should have instead apologized for wanting to screen the film to begin with. The 50/50 Collective, another women's rights group, had called on the Cinématheque to provide "thoughtful and respectful" place for Schneider’s testimony and experience alongside the screening.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Other feminists stated they would have approved of the screening had a discussion been had after the screening and a note handed to the viewers describing the non-consensual background of the scene.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Accolades

In 2002, the film ranked #48 on AFI's 100 Years... 100 Passions.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Accolades for Last Tango in Paris

Organization	Year	Category	Recipient(s)	Result	Template:Ref heading
Academy Awards	1974	Best Director	Bernardo Bertolucci	Template:Nom	<ref>{{#invoke:citation/CS1|citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
		Best Actor	Marlon Brando	Template:Nom
British Academy Film Awards	1974	Best Actor in a Leading Role		Template:Nom	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
David di Donatello Awards	1973	Special David	Maria Schneider	Template:Won	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
Directors Guild of America Awards	1974	Outstanding Directing in a Feature Film	Bernardo Bertolucci	Template:Nom	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
Golden Globe Awards	1974	Best Motion Picture – Drama	Last Tango in Paris	Template:Nom	<ref>{{#invoke:citation/CS1|citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
		Best Director	Bernardo Bertolucci	Template:Nom
Grammy Awards	1974	Best Score Soundtrack for Visual Media	Gato Barbieri	Template:Nom	<ref>{{#invoke:citation/CS1|citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
		Best Instrumental Composition	Gato Barbieri (for "Theme from Last Tango in Paris")	Template:Won
Nastro d'Argento Awards	1973	Best Director	Bernardo Bertolucci	Template:Won	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
National Society of Film Critics Awards	1974	Best Actor	Marlon Brando	Template:Won	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}
New York Film Critics Circle Awards	1974	Best Actor		Template:Won	citation	CitationClass=web }}</ref>{{safesubst:#invoke:Check for unknown parameters|check|unknown=|preview=Page using Template:Center with unknown parameter "_VALUE_"|ignoreblank=y| 1 | style }}

See also

• List of cult films
• List of NC-17 rated films

Bibliography

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External links

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• Template:TCMDb title
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• Pauline Kael's review
• Maria Schneider filmography
• Last Tango in Paris Template:Webarchive – slideshow by Life magazine