Last Tango in Paris 4K 1972

It's a weird movie. It's not vulgar at all, by the way, but when you read what's written about it, it looks exactly vulgar. It's weird. Right, to write about Last Tango as a love story, where this love is a kind of last chance, the highest and final point of life, is vulgar. But it's still weird. It's also strange that the movie, all of which is so masculine, is more liked by girls. It's surprising.

The protagonist of the movie is a forty-five-year-old lonely American named Paul, who somehow mysteriously finds himself in Paris. Paul has two women. The first one he loves, the second one not immediately, but he loves her too. The first is a wife who cheated on him and has just slit her wrists. Except for cheating and suicide, we never learn anything about her. Nor does the protagonist, who, though only after becoming a widower, realizes that the woman he loved and lived with for five years, he never got to know. The second is a young girl whose chance encounter entails a strange and passionate connection.

If plotwise Tango is really about meeting a stranger and having sex with her with no names or commitments, substantively it is about two, no, by no means assertions, more like assumptions. The first one is already practically voiced. A man is basically incapable of knowing the woman he loves. To be fair, a man will never understand why the woman he loves could need someone else, but that is not the point, of course. The second assumption is more complicated. It is clear that it follows from the hero's relationship with the young girl, but it is impossible to formulate it in such a way that it would be possible to attribute these words to Bertolucci. So the relationship between Brando and Schneider's characters is more complex, meaningful and interesting.

They consist of two stages. The first takes place in an apartment, in which there is no room for names, and essentially naked passion, in many ways animal, so that all the explicit scenes, about which, I do not know whether, unfortunately, it is customary to talk more than about the movie itself, not at all epatage, but artistic necessity. Passion, in which the man, on the one hand, tries to forget, and grief as soon as not try to forget, hence the unwillingness to hear names and talk about any life outside this apartment, and on the other hand, takes revenge on his wife through his mistress, hence the desire to humiliate and even, perhaps, cruelty. The girl's motivation is quite different. Here it is rather a thirst for adventure, an unconscious desire for something unusual, which the young fiancé so banally in love can't give her. In real life, such a reflection is rarely found, but if you think about it, the desire for a young inexperienced girl is not so unnatural.

The second stage begins at the moment when the hero, having reconciled with his past, leaves the apartment without names and meets the girl already on the street. Now he loves, wants to open himself and expects the same in return. But he is wrong again, not having realized what the object of his love really wants. And it turns out that sometimes it is much easier to endure humiliation than to accept a person as he is, aging and in love. And no one is really to blame. It's just that life can be very complicated sometimes.