Critical Essay by Leo Braudy
It is paradoxical that Last Tango in Paris should have had [so much critical] attention directed at its parts: are its sexy scenes sexy? are Brando's monologues hea...
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Critical Essay by Julian Jebb
The confusion of response which [Last Tango in Paris] excites arises, I think, from several sources: the opulent cinematography, Marlon Brando's performance and th...
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Critical Essay by Norman Mailer
[The separate backgrounds of Jeanne and Paul divide Last Tango in Paris] as neatly between biography and fornication as those trick highball glasses which present a dra...
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Critical Essay by Daniel Lopez
The premise fundamental to [The Conformist and Last Tango in Paris] is an indictment of one of society's cornerstones, the bourgeois family, all too apt to suppre...
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Critical Essay by Pauline Kael
The movie breakthrough has finally come. Exploitation films have been supplying mechanized sex—sex as physical stimulant but without any passion or emotional viol...
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Critical Essay by Stanley Kauffmann
And after all the advance fuss, what is [Last Tango in Paris]? Three films. One is new Bertolucci, one is old Bertolucci, and one is old New Wave. The first of thes...
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