The Criterion Collection

[Shane Rollins]

Originally Posted by HarryAlbright89

I'm disappointed Criterion decided not to take the project on because Last Tango feels like a film that fits the mold of the label. Within Bertolucci's filmography it's arguably his most iconic film, and as such would have been a strong addition. At least Vinegar Syndrome was willing to take the possible pr hit to allow those interested to acquire the title.

It could've been the PR thing. It could've also been that VS offered more, or maybe Criterion sat on it too long and then lost it. It was one of Criterion's laserdiscs, although most sources indicate it was the cut, R-rated Verizon instead of the uncut, X/NC-17 version.

Major NSFW warning here.

Originally Posted by IMDb - Alternate versions

[Show spoiler]-For its original UK cinema release the BBFC suggested cuts to dialogue during the scissors scene and a heavy reduction of the infamous sodomy scene, though the former was rescinded when it was decided that the cuts would be difficult to make without ruining the scene. Instead a proposed cut of 20 secs was required to the sodomy scene to remove shots of Paul smearing butter on Jeanne's buttocks and some overhead shots of sexual thrusting. The latter was also waived following an appeal from the director and instead a mere 10 sec cut was made to the butter smearing. When the OPA (Obscene Publications Act) was extended to cover films a few years later BBFC censor James Ferman waived the cinema cut, and all post-1978 releases (including TV showings) have been the fully uncut version.

-Available on video in both R-rated and uncut X-rated versions. One of the main differences between the two cuts involves a scene of anal sex between Marlon Brando and Maria Schneider. In the R-rated version, the scene isn't cut, but rather a lamp is superimposed over the scene, covering most of their bodies. The censored R-rated version is cut by two minutes.

-A scene in which Paul scares away a bible salesman from his apartment by getting on all fours and barking like a dog was in the film at its world premiere at the New York Film Festival. Although Pauline Kael, present at that screening, specifically praised the scene in her "New Yorker" review of the film, Bernardo Bertolucci cut it out of the film before its general release.

-A four-hour rough cut of the film exists. Not much is known what this version contains, but apparently it is the version of the film in which Gato Barbieri, the film's composer viewed four times in August of 1971, in order to decide where music was needed in the film.

[MifuneFan]

Do we even know that Criterion ever had Last Tango in Paris? I searched through the thread, and could only find speculation of them having it. Was there anything actually confirming their acquisition?

[DimitriL]

Originally Posted by HarryAlbright89

I'm disappointed Criterion decided not to take the project on because Last Tango feels like a film that fits the mold of the label. Within Bertolucci's filmography it's arguably his most iconic film, and as such would have been a strong addition. At least Vinegar Syndrome was willing to take the possible pr hit to allow those interested to acquire the title.

You know, though I’m of course extremely aware of its importance in cinema history - and certainly that iconic Kael review - I feel like it’s suffered in reevaluations. Even before the whole highly public toxic controversy broke out, it seemed to become a footnote. Criterion had almost two decades to port their LD edition to DVD/BD, long before it became so publicly controversial, but they sat on it - as did pretty much every other label of note. It’s an odd situation, and it’s not recent - for example, it didn’t get a single vote in the compiled top 1000 films for the 2012 Sight and Sound poll, nor did it get anywhere near the top 250 in the 2002 poll. Did it just stop resonating?

[SeanJoyce]

^I really don't think it's ever been regarded as an especially great or important film...it's merely Brando's powerhouse performance that its reputation rests on, and obviously the controversy in more recent times.

Still, who would be shocked if they did have it and deferred putting it out because they couldn't withstand an additional NY Times hit piece?

[DimitriL]

Originally Posted by SeanJoyce

^I really don't think it's ever been regarded as an especially great or important film...it's merely Brando's powerhouse performance that its reputation rests on, and obviously the controversy in more recent times.

Still, who would be shocked if they did have it and deferred putting it out because they couldn't withstand an additional NY Times hit piece?

They had almost 20 years to put it out on DVD before the controversy hit. IIRC, even the LD was kind of bare bones. But there was definitely a time when it was regarded as Great Art(™) by some, though that’s perhaps colored by the most over-the-top rave Kael ever gave, where she compared it to Le Sacre du Pritemps. (Ebert said it was the most influential movie review of all time.) Robert Altman said he walked out wondering how he could ever make another film after it.

My own theory is that porn eventually destroyed the transgressive shock of it, and removed from that, audiences started looking at it as kind of a turgid, pretentious and unpleasant experience.

[dwk]

Originally Posted by MifuneFan

Do we even know that Criterion ever had Last Tango in Paris? I searched through the thread, and could only find speculation of them having it. Was there anything actually confirming their acquisition?

I can't find anything to indicate that they had licensed the film, or even attempted to license it (ala "Phantom Pages" for The Good, the Bad, and the Ugly cast and crew.)

[mclellandj]

Even before the recent statements from Schneider, I’d never heard anyone refer to Last Tango as a great or even particularly good film. Just controversial and that controversy went from silly to grim given the sexual assault revelations.

[gekats]

Surprised the importance/greatness of Last tango seem to be up for debate. Maybe a cultural thing? Has always had a reputation as one of the all-time great films in Greece (where I come from) and still does for good reason, regardless of the controversy.

What's not to love? Barbieri's score is excellent, so is Storaro's photography, the mood, performances, etc. As good as anything Bertolucci has done. Very surprised to read some of the comments above.

[MifuneFan]

I've never seen the movie, and just know of the controversial scene. I'm not sure if I want to watch it as I really love butter. Like a lot. And I don't want butter to be ruined for me

[DimitriL]

Originally Posted by dwk

I can't find anything to indicate that they had licensed the film, or even attempted to license it (ala "Phantom Pages" for The Good, the Bad, and the Ugly cast and crew.)

They put it out on LD, so I think there was always an assumption that they either had the rights or would make an effort to acquire them. Of course, that really wasn't based on anything solid.

[DimitriL]

Originally Posted by mclellandj

Even before the recent statements from Schneider, I’d never heard anyone refer to Last Tango as a great or even particularly good film. Just controversial and that controversy went from silly to grim given the sexual assault revelations.

One can debate whether this was insightful or hyperbolic, but Kael's legendary review is worth reading. She does elucidate what the film's admirers saw in it. Of course, she lavishes praise on Brando but she also goes into what she sees at Bertolucci's brilliance.

I personally don't agree with her assessment - gekats, I'm Greek too and I don't see any great affection for it from the cinephiles in my family there - but I get what they're arguing.

https://scrapsfromtheloft.com/movies...-pauline-kael/

[gekats]

Originally Posted by MifuneFan

I've never seen the movie, and just know of the controversial scene. I'm not sure if I want to watch it as I really love butter. Like a lot. And I don't want butter to be ruined for me

Just another of those scenes that has always been magnified out of proportion, having been discussed intensely at the time as well. If one watches the film today (and could disregard the more recent controversy - though that might be difficult to do), I don't think that is scene stands out particularly as either particularly harrowing or important in the context of the film. Anyway, if one could disregard the recent sexual assault allegations, this is just another film in the film and it has always done the film a disservice that it has always ben blown out of proportion. (Imagine if everyone were taking about the Depardieu/de Niro/Cassini masturbation scene in 1900, which they are not.)

For what it's worth, I do think it's a masterpiece and the final shot is unforgettable.

[Rzzzz]

Originally Posted by sfmarine

Sarcasm?

Yeah, he's in a movie I have the blu-ray of...

[gekats]

Originally Posted by DimitriL

I personally don't agree with her assessment - gekats, I'm Greek too and I don't see any great affection for it from the cinephiles in my family there - but I get what they're arguing.

Hey!

[dwk]

Originally Posted by ShellOilJunior

Without doing the research, I'm going to guess Kevin Bacon has a connection to anyone that's ever visited the Criterion closet.

Masahiro Shinoda directed
Iain Glen in Supai Zoruge who acted alongside
Sigourney Weaver in Gorillas in the Mist, who acted alongside
Winona Ryder in Alien: Resurrection, who acted alongside
Johnny Depp in Edward Scissorhands who acted alongside
Kevin Bacon in Black Mass

[sfmarine]

Originally Posted by Rzzzz

Yeah, he's in a movie I have the blu-ray of...

A little known film.

[Professor Echo]

Originally Posted by DimitriL

One can debate whether this was insightful or hyperbolic, but Kael's legendary review is worth reading. She does elucidate what the film's admirers saw in it. Of course, she lavishes praise on Brando but she also goes into what she sees at Bertolucci's brilliance.

Bertolucci, besides being an s.o.b. for what he did on this picture and unlike Brando, never apologizing for it, is one of those big "foreign" directors from the 70's that everyone tripped all over themselves praising, but who has been relatively left behind to the dust of that era along with Wertmuller, Chabrol and to a degree, Truffaut, who some considered a film GOD in those days. After all the middle class suburban married couples rushed to see LAST TANGO in its peak of notoriety, Bertolucci fell on some bad times with mixed notices for even THE LAST EMPEROR and downright ridicule for LITTLE BUDDAH. During the mid-70's he was being worshipped for TANGO and CONFORMIST and 1900, none of which I believe hold up all that well 50 years later. Truffaut too hit some hard times after ADELE H., with many critics thinking SMALL CHANGE inconsequential and beneath his caliber of talent. I was in film school at the time and can remember both of these directors being discussed less and less as the decade went on, contrasted with their elevated status at the beginning of the 70's.

Antonioni too fell from grace after the brilliance of BLOW UP. Bergman on the other hand had his genius survive intact following some missteps in the 70's and rightly has retained his reputation over the decades. It was a time when cinephiles were emerging from college press magazines and major metropolitan museum screenings and bringing foreign directors into the spotlight so it was an interesting era to see the ups and downs of these movements and reflect on them now. The word genius has proved pretty fickle over time and I myself no longer think of LAST TANGO as being brilliant and can easily see Criterion taking a pass on it, especially with the unsavory controversy attached.

[NeoNical]

New 35mm print from the original camera negative of Fellini's 8 1/2 screening at New York's Film Forum from April 25 to May 8.

Trailer

[HarryAlbright89]

Originally Posted by Professor Echo

Bertolucci, besides being an s.o.b. for what he did on this picture and unlike Brando, never apologizing for it, is one of those big "foreign" directors from the 70's that everyone tripped all over themselves praising, but who has been relatively left behind to the dust of that era along with Wertmuller, Chabrol and to a degree, Truffaut, who some considered a film GOD in those days. After all the middle class suburban married couples rushed to see LAST TANGO in its peak of notoriety, Bertolucci fell on some bad times with mixed notices for even THE LAST EMPEROR and downright ridicule for LITTLE BUDDAH. During the mid-70's he was being worshipped for TANGO and CONFORMIST and 1900, none of which I believe hold up all that well 50 years later. Truffaut too hit some hard times after ADELE H., with many critics thinking SMALL CHANGE inconsequential and beneath his caliber of talent. I was in film school at the time and can remember both of these directors being discussed less and less as the decade went on, contrasted with their elevated status at the beginning of the 70's.

Antonioni too fell from grace after the brilliance of BLOW UP. Bergman on the other hand had his genius survive intact following some missteps in the 70's and rightly has retained his reputation over the decades. It was a time when cinephiles were emerging from college press magazines and major metropolitan museum screenings and bringing foreign directors into the spotlight so it was an interesting era to see the ups and downs of these movements and reflect on them now. The word genius has proved pretty fickle over time and I myself no longer think of LAST TANGO as being brilliant and can easily see Criterion taking a pass on it, especially with the unsavory controversy attached.

I always thought Last Tango retained acclaimed status until fairly recently. When I first started getting into film seriously in the mid 2000s the film was constantly mentioned as a must watch in various books I read. I thought of it as the first sexually charged arthouse film to crossover to the mainstream, so naturally I was curious to see it. What I got was a moody, haunting tale about two wayward souls trying to fill the void of pain and emptiness in their lives. It was a gripping, hypnotic experience that has retained it's potency to me over the years. Anecdotal as my experiences may be I'm just relieved that Last Tango still has a place at the table for more people to discover it even if it's no longer considered a venerated classic.

[gekats]

Originally Posted by Professor Echo

Bertolucci, besides being an s.o.b. for what he did on this picture and unlike Brando, never apologizing for it, is one of those big "foreign" directors from the 70's that everyone tripped all over themselves praising, but who has been relatively left behind to the dust of that era along with Wertmuller, Chabrol and to a degree, Truffaut, who some considered a film GOD in those days. After all the middle class suburban married couples rushed to see LAST TANGO in its peak of notoriety, Bertolucci fell on some bad times with mixed notices for even THE LAST EMPEROR and downright ridicule for LITTLE BUDDAH. During the mid-70's he was being worshipped for TANGO and CONFORMIST and 1900, none of which I believe hold up all that well 50 years later. Truffaut too hit some hard times after ADELE H., with many critics thinking SMALL CHANGE inconsequential and beneath his caliber of talent. I was in film school at the time and can remember both of these directors being discussed less and less as the decade went on, contrasted with their elevated status at the beginning of the 70's.

Antonioni too fell from grace after the brilliance of BLOW UP. Bergman on the other hand had his genius survive intact following some missteps in the 70's and rightly has retained his reputation over the decades. It was a time when cinephiles were emerging from college press magazines and major metropolitan museum screenings and bringing foreign directors into the spotlight so it was an interesting era to see the ups and downs of these movements and reflect on them now. The word genius has proved pretty fickle over time and I myself no longer think of LAST TANGO as being brilliant and can easily see Criterion taking a pass on it, especially with the unsavory controversy attached.

I'd argue Bergman himself does not enjoy nowadays the fame he had back then. There are many more examples of heavyweight artists with fluctuating popularity, say, Godard who subsequently placed himself in a very hermetic position (and some very intresting films) before returning to the spotlight in the 80s. That is true in other arts as well.

Anyway, times and tastes do change, so it's too early to make conclusions about the final status each figure will eventually converge to. After all, cinema in general is fairly recent when compared to the overall artistic human production.

If nothing else, the current controversy surrounding Last tango makes it even more important in my eyes, as it leads me to question whether (alleged or proven) reprehensible circumstances in creating a work of art (or even the problematic natures of the artists involved, as could be argued in another context for Balthus, Schiele, Gaugin, even Picasso himself) can be distinguished form the artistic product itself, which, in this case and in my eyes, remains a most potent film, indeed, one of the peaks of cinema.