• Email
  • Single Page
  • Print

A Transit to Narcissus

Last Tango in Paris

directed by Bernardo Bertolucci

To pay one’s $5.00 and join the full house at the Translux for the evening show of Last Tango in Paris is to be reminded once again that the planet is in a state of pullulation. The seasons accelerate. The snow which was falling in November had left by the first of March. Would our summer arrive at Easter and end with July? It is all that nuclear radiation, says every aficionado of the occult. And we pullulate. Like an ant-hive beginning to feel the heat.

We know that Spengler’s thousand-year metamorphosis from Culture to Civilization is gone, way gone, and the century required for a minor art to move from commencement to decadence is off the board. Whole fashions in film are born, thrive, and die in twenty-four months. Still! It is only a half year since Pauline Kael declared to the readers of The New Yorker that the presentation of Last Tango in Paris at the New York Film Festival on October 14, 1972, was a date which “should become a landmark in movie history—comparable to May 29, 1913—the night Le Sacre du Printemps was first performed—in music history,” and then went on to explain that the newer work had “the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same jabbing, thrusting eroticism…. Bertolucci and Brando have altered the face of an art form.” Whatever could have been shown on screen to make Kael pop open for a film? “This must be the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made….” Could this be our own Lady Vinegar, our quintessential cruet? The first frigid of the film critics was treating us to her first public reception. Prophets of Baal, praise Kael! We had obviously no ordinary hour of cinema to contemplate.

Now, a half year later, the movie is history, has all the palpability of the historic. Something just discernible has already happened to humankind as a result of it, or at least to that audience who are coming in to the Translux to see it. They are a crew. They have unexpected homogeneity for a movie audience, compose, indeed, so thin a sociological slice of the New York and suburban sausage that you cannot be sure your own ticket isn’t what was left for the toothpick, while the rest of the house has been bought at a bite. At the least, there is the same sense of aesthetic oppression one feels at a play when the house is filled with a theater party. So, too, is the audience at Tango an infarct of middle-class anal majesties—if Freud hadn’t given us the clue, a reader of faces could decide all on his own that there had to be some social connection between sex, shit, power, violence, and money. But these middle-class faces have advanced their historical inch from the last time one has seen them. They are this much closer now to late Romans.

Whether matrons or young matrons, men or boys, they are swingers. The males have wife-swapper mustaches, the women are department-store boutique. It is as if everything recently and incongruously idealistic in the middle class has been used up in the years of resistance to the Vietnamese War—now, bring on the Caribbean. Amazing! In America, even the Jews have come to look like the French middle class, which is to say that the egocentricity of the Fascist mouth is on the national face. Perhaps it is the five-dollar admission, but this audience has an obvious obsession with sex as the confirmed core of a wealthy life. It is enough to make one ashamed of one’s own obsession (although where would one delineate the difference?). Maybe it is that this audience, still in March, is suntanned, or at the least made up to look suntanned. The red and orange of their skins will match the famous “all uterine” colors—so termed by the set designer—of the interiors in Last Tango.

In the minute before the theater lights are down, what a tension is in the house. One might as well be in the crowd just before an important fight commences. It is years since one has watched a movie begin with such anticipation. And the tension holds as the projection starts. We see Brando and Schneider pass each other in the street. Since we have all been informed—by Time no less—we know they are going to take carnal occupation of each other, and very soon. The audience watches with anxiety as if it is also going to be in the act with someone new, and the heart (and for some, the bowels) is in tremors between earthquake and expectation. Maria Schneider is so sexual a presence. None of the photographs has prepared anybody for this. Rare actresses, just a few, have flesh appeal. You feel as if you can touch them on the screen. Schneider has nose appeal—you can smell her. She is every eighteen-year-old in a mini-skirt and a maxi-coat who ever promenaded down Fifth Avenue in that inner arrogance which proclaims, “My cunt is my chariot.”

We have no more than a few minutes to wait. She goes to look at an apartment for rent, Brando is already there. They have passed in the street, and by a telephone booth; now they are in an empty room. Abruptly Brando cashes the check Stanley Kowalski wrote for us twenty-five years ago—he fucks the heroine standing up. It solves the old snicker of how do you do it in a telephone booth?—he rips her panties open. In our new line of New Yorker-approved superlatives, it can be said that the cry of the fabric is the most thrilling sound to be heard in World Culture since the four opening notes of Beethoven’s Fifth.1 It is, in fact, a hell of a sound, small, but as precise as the flash of a match above a pile of combustibles, a way for the director to say, “As you may already have guessed from the way I established my opening, I am very good at movie making, and I have a superb pair, Brando and Schneider—they are sexual heavyweights. Now I place my director’s promise upon the material: you are going to be in for a grave and wondrous experience. We are going to get to the bottom of a man and a woman.”

So intimates Bertolucci across the silence of that room, as Brando and Schneider, fully dressed, lurch, grab, connect, hump, scream, and are done in less than a minute, their orgasms coming on top of one another like trash cans tumbling down a hill. They fall to the floor, and fall apart. It is as if a hand grenade has gone off in their entrails. A marvelous scene, good as a passionate kiss in real life, then not so good because there has been no shot of Brando going up Schneider, and since the audience has been watching in all the somber awe one would bring to the first row of a medical theater, it is like seeing an operation without the entrance of the surgeon’s knife.

One can go to any hard-core film and see fifty phalluses going in and out of as many vaginas in four hours (if anyone can be found who stayed four hours). There is a monumental abstractedness about hard core. It is as if the more a player can function sexually before a camera, the less he is capable of offering any other expression. Finally, the sexual organs show more character than the actors’ faces. One can read something of the working conditions of a life in some young girl’s old and irritated cunt, one can even see triumphs of the human spirit—old and badly burned labia which still come to glisten with new life, capital! There are phalluses in porno whose distended veins speak of the integrity of the hardworking heart, but there is so little specific content in the faces! Hard core lulls after it excites, and finally it puts the brain to sleep.

But Brando’s real cock up Schneider’s real vagina would have brought the history of film one huge march closer to the ultimate experience it has promised since its inception (which is to re-embody life). One can even see how on opening night at the Film Festival, it did not matter so much. Not fully prepared for what was to come, the simulated sex must have quivered like real sex the first time out. Since then we have been told the movie is great, so we are prepared to resist greatness, and have read in Time that Schneider said, “We were never screwing on stage. I never felt any sexual attraction for him…he’s almost fifty you know, and’—she runs her hand from her torso to her midriff, ‘he’s only beautiful to here!’ ”

So one watches differently. Yes, they are simulating. Yes, there is something slightly unnatural in the way they come and fall apart. It is too stylized, as if paying a few subtle respects to Kabuki. The real need for the real cock of Brando into the depths of the real actress might have been for those less exceptional times which would follow the film long after it opened and the reaction had set in.

Since Tango is, however, the first major film with a respectable budget, a superbly skilled young director, an altogether accomplished cameraman, and a great actor that is ready to do more than dabble in improvisation, indeed will enter heavily into such near to untried movie science, so the laws of improvisation are before us, and the first law to recognize is that it is next to impossible to build on too false a base. The real problem in movie improvisation is to find some ending which is true to what has gone before and yet is sufficiently untrue to enable the actors to get out alive.

We will come back to that. It is, however, hardly time to let go of our synopsis. Real or simulated, opening night or months later, we know after five minutes that, at the least, we are in for a thoroughgoing study of a man and a woman, and the examination will be close. Brando rents the empty apartment; they will visit each other there every day. His name is Paul, hers is Jeanne, but they are not to learn each other’s names yet. They are not to tell one another such things, he informs her. “We don’t need names here…we’re going to forget everything we knew…. Everything outside this place is bullshit.”

They are going to search for pleasure. We are back in the existential confrontation of the century. Two people are going to fuck in a room until they arrive at a transcendent recognition or some death of themselves. We are dealing not with a plot but with a theme that is open range for a hundred films. Indeed we are face to face with the fundamental structure of porno—the difference is that we have a director who by the measure of porno is Eisenstein, and actors who are as gods. So the film takes up the simplest and richest of structures. To make love in an empty apartment, then return to a separate life. It is like every clandestine affair the audience has ever had, only more so—no names! Every personal demon will be scourged in the sex—one will obliterate the past! That is the huge sanction of anonymity. It is equal to a new life.

  1. 1

    John Simon, as predictable in his critical reactions as a headwaiter, naturally thought Last Tango was part of the riff-raff. Since it is Simon’s temper to ignore details, he not only does not hear the panties tearing (some ears reside in the music of the spheres) but announces that Schneider, beasty abomination, is wearing none.

  • Email
  • Single Page
  • Print