In Paris, people are standing in line for up to two hours at the seven theaters where Tango has been playing for a month. It has been called a “pornographic Elvira Madigan” as well as a work of “constant beauty” a piece of “talented debauchery that often makes you want to vomit” as well as an “authentic moral and psychological Apocalypse.” Debates about its meaning and merits are raging among critics, intellectuals, theologians and editorial writers. 1, is already a sensation and a scandal in Europe. The movie, which will open in New York City on Feb.
Frontal nudity, four-letter words, masturbation, even sodomy-Bertolucci dwells uncompromisingly on them all with a voyeur’s eye, a moralist’s savagery, an artist’s finesse. For boldness and brutality, the intimate scenes are unprecedented in feature films. Bertolucci, whose political melodrama The Conformist was one of the most highly praised foreign films of 1971, has marshaled his opulent visual style to tell a stark story of sex as a be-all and end-all. Any moviegoers who are not shocked, titillated, disgusted, fascinated, delighted or angered by this early scene in Bernardo Bertolucci’s new movie, Last Tango in Paris, should be patient.
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