Last Tango in Paris: A Film Review

Bernardo Bertolucci's Last Tango in Paris (1972) is not a typical love story. Instead, it delves into the raw and unsettling realms of grief, sexual despair, and human disconnection. The narrative is messy, forbidden, and at times hollow, yet it remains brutally honest. The film centers on a series of anonymous, emotionally charged encounters between Paul (Marlon Brando), a middle-aged American man grappling with his wife’s suicide, and Jeanne (Maria Schneider), a young Parisian woman navigating the complexities of innocence and awakening. It’s a love story without the usual trappings of love—no name, no pasts, no future; however, the film does not shy away from the truth. It portrays how connection can feel real, even when built on broken grounds.

Last Tango in Paris is often described as Marlon Brando’s film. And yet, what lingers in my mind isn’t just Brando’s rawness or sadness. It’s Maria Schneider. Her performance is like sunlight filtering through a dirty window. She plays Jeanne with a kind of naive boldness, a youthful freedom that moves through the film like a breeze against Brando’s storm. While Paul collapses inward, consumed by loss and self-loathing, Jeanne floats outward—curious, impulsive, and full of contradictions. She is delightful in a sincere way through her vivacity, playfulness, and searching gaze.  

Brando's performance is haunting, revealing his vulnerability. Paul is depicted as angry, broken, and desperately searching for something to feel. Brando famously improvised much of his dialogue, giving his monologues an unrehearsed, personal quality; thus, we are witnessing Brando himself, rather than his character, grieving not only a fictional wife but something deeper within his own soul. Only Brando could pull off such a beautifully intense and poignant scene, making it almost painful to watch.

Schneider and Brando together create a palpable tension that feels spontaneous and vibrant. Their bond is strong, both physically and emotionally, striking a dynamic balance between lightness and heaviness, with one escaping life and the other embracing it.

Ultimately, Last Tango in Paris is a film that demands thoughtful consideration rather than mere enjoyment. The film is disturbing, brilliant, complex, and emotionally raw. Whether one finds it powerful or repulsive, it is impossible to remain indifferent. Amidst the brutality and controversy, Schneider introduces a fragile, human element to the story. In many ways, this film was Brando's emotional swan song. Upon its completion, Brando remarked, "I decided that I wasn’t ever again going to destroy myself emotionally to make a movie."