Last Tango in Paris (1972)

2/5

Last Tango in Paris is something of a bizarre movie to me. The plot follows Marlon Brando as Paul, a recent widower after his wife's unexpected suicide, and Maria Schneider as Jeanne, a young girl in Paris. They randomly meet in an apartment up for rent, have rough sex bordering on rape, and agree to continue seeing each other without ever knowing the other's name or past. I'll be the first to admit that I don't "understand" this film, although I consider it a fault of the film and not myself. It was too impenetrable; it was as if it didn't want to say what it was about and purposely stayed away from revealing its meaning. Why?

Another thing about the movie I didn't understand was the prevalent nudity and sex. Usually I don't mind it when I see the purpose of keeping it in, but I saw no real reason for its gratuitous excess in this film. It certainly wasn't realism, because the compositions and camera movements were so set-up and planned that the movie as a whole didn't feel realistic in the first place--any realism by having a girl stand around naked was immediately lost and crossed the fine line from art into pornography.

Bertolucci has this amazing visual flair that I love to watch, but it just wasn't good enough to outweigh my distaste for the rest of the movie. The music was fantastic as well, although it came in and out at strange places and volumes. There were some very powerful moments in the movie, but they were few and far between and weakened by the meandering story. Really, I'm very disappointed with Bertolucci after this film. I don't recommend this to any but the most hardcore of Bertolucci fans.

IMDb link: http://imdb.com/title/tt0070849/

The Conformist (1970)

4.9/5

Bernardo Bertolucci's The Conformist is a visual masterpiece. The compositions and camera movements are utilized with such purpose and precision--such confidence in their meaning--that it transcends simple descriptions of events and becomes lyrical poetry. The breathtaking cinematography is made more impressive by the incredible set and costume designs. All of this merely provides the framework over which the exquisite acting can play out. As the movie starts, we are at once made aware of the striking editing style. The non-linear complexity pulls you in, sparking your curiosity and then feeding you answers, and keeps you engaged as a participant in the movie. The structure follows a simple arc in characterization and mood that a chronological retelling would have completely missed out on. The film's themes, while enigmatic, are far from indecipherable. Their importance lies in their timeless relevance while their draw lies in their subtle ubiquity.

The plot follows Clerici and his attempts to be normal, both socially and sexually. He joins the Fascist party while they reign over the country and condemns it immediately after Mussolini's fall. The brutal and shockingly sudden about-face at the finale is by far the most haunting image in this film for me. Perhaps my favorite line in the movie is uttered by Italo, Clerici's blind friend, after being asked what normal is: "A normal man is one who turns his head to see a beautiful woman's bottom." I could go on and on quoting this movie, but why read a transcript when you could simply watch the movie and experience it for yourself? I am still remembering scenes in the movie as if they are just now happening.

There were some problems with the movie, however. I actually thought some of the shots felt too set-up and composed, shedding off the poetic realism and with it the subtlety that intrigued me. The plot could sometimes get a bit convoluted and crowded with seemingly pointless scenes, although most of the time their beauty and meaning find you over time. Also, there seemed to be some sound issues of the kind that usually mar student films, not major features. At any rate, none of these negatives are significant in any considerable fraction, and should not dissuade you from seeing this unforgettable piece of art.

IMDb link: http://imdb.com/title/tt0065571/