Ultimo tango a Parigi (巴黎最後探戈)

Ultimo tango a Parigi The Last Tango in Paris 1972 (Italy/France) 129min

Direct: Bernardo Bertolucci
Script: Bernardo Bertolucci and Franco Arcalli
Photo: Vittorio Storaro (“Apocalypse Now" “The Last Emperor" )
Music: Gato Barbieri
Cast: Marlon Brando (Paul) Maria Schneider (Jeanne) Jean-Pierre Léaud (Tom)

我第一次看到畫質超好, 螢幕比例又正確的 VHS, 不過英文對話沒有字幕, 兩個人又都在 murmur, 害我對白都不太懂. 即便如此, 扣除掉兩場惡名昭彰 or 讓人津津樂道的性愛場面, 這部電影從頭到尾都很美, 對性慾的描寫赤裸裸又令人心痛, 影評人對這部片似乎有很多解讀, 我傾向於沉溺於 Marlon Brando 的情緒裡, 不想管其他的了.

Roger Ebert review

I watched it again (the scense where he confronts the body of his wife, who has committed suicide, and mourns her in an outpouring of rage and grief), this time imagining that Brando was talking to his own dead body — that his anger and love, his blame and grief, were directed toward himself. … But here was a man who sometimes prostituted his own talent, who frustrated his admirers by seeming to scorn them, whose “eventual monstrous obesity seemed a clear sign of his hatred for Hollywood," as Stanley Kauffmann wrote in the best of the Brando obituaries. …

Although pornography documents the impersonal mechanics of sex, few serious films challenge actors to explore its human dimensions; isn’t it remarkable that no film since 1972 has been more sexually intimate, revealing, honest and transgressive than “Last Tango"?

Their conversations are rare in not seeming written, not seeming to point to a purpose or conclusion; they are the sorts of things these people might really say, and it’s remarkable how relaxed, even playful and sweet, Paul can be with her, when he is not dictating their brutal sexual couplings

They are both in scenes as actors, but I was seeing her as a thing, fascinated by the disconnect between her adolescent immaturity and voluptuous body. I objectified her, but Paul does not, and neither does the movie. That he keeps his secrets, refuses intimacy, treats her roughly, is explained by the scene with the body of his wife, and perhaps by his own experience of sex.

The character of Tom is a caricature that only grows more distracting over the years. Leaud, the star of Truffaut’s autobiographical films, behaves not as if he is a movie director, but as if he’s playing one — not in this film but in another film, maybe a musical comedy. The dialogue between Tom and Jeanne seems unnatural and forced. We don’t believe it, and we don’t care.

How sex fulfills two completely different needs. Paul needs to lose himself to mourning and anger, to force his manhood on this stranger because he failed with his wife. Jeanne responds to a man who, despite his pose of detachment, is focused on her, who desperately needs her (if for reasons she does not understand). He is the opposite of Tom, who says he wants to film every moment of her life, but is thinking of his film, not of her. Jeanne senses that Paul needs her as she may never be needed again in all of her life. Her despair at the end is not because of lost romance, but because Paul no longer seems to need her.


1 則迴響 »

  1. […] 夏日之戀 (1961) 法 8½ 八又二分之一 (1963) 義 La Dolce Vita 生活的甜蜜 (1960) 義 Ultimo tango a Parigi 巴黎最後探戈 (1972) 義/法 The Passenger 過客 (1975) 義/美 L’Eclisse 蝕 (1962) 義/法 […]

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