Reviews

An Englishman (played by former Stranglers frontman, Hugh Cornwell) arrives in a remote French town near the coast to collect his broken down car. What he sees there will change his life forever...

They say that the best things come in small packages and this beautifully realised short film (running at just 21-minutes) could easily be presented as supporting evidence. But that's not to say it is a lightweight piece. On the contrary, it is a film with great depth (especially considering its short length). I don't wish to give any of the plot away - so no need for Spoiler Alerts here - but, like its allegorical subject-matter, it is a film that gets under the skin (in a good way) and the viewer is definitely rewarded with repeated viewings. Highly recommended viewing.

Cornwell also provides (most of) the brilliantly atmospheric soundtrack.

This film is very nearly a masterpiece of cinema - the central flaw being the disparity between the intensity & truth depicted in the Brando/Schneider relationship and the nonsense that is parallelled in the Schneider/Leaud scenes. Now I realise that that is Bertolucci's intention (the serious as compared to the frivolous), but the latter relationship really is poorly evoked; thereby making half the film utterly unbelievable - which is a great shame because this really is a fascinating and brave piece of film-making. To lose most of the scenes involving Leaud's amateur film-maker would, I think, benefit the film hugely.

I'd also like to make couple of points relating to some of the other comments here. Firstly, the sex scenes weren't real. This is covered in Brando's autobiography, Songs My Mother Taught Me - apparently Bertolucci suggested the actors having 'real' sex, but all the scenes were "ersatz (simulated) sex", according to Brando. As for the comment that we don't actually see much - okay, it's not exactly pornographic but we certainly see enough of Schneider, with her magnificent bosom and splendid pubic-bush. Secondly, one of the reviewers makes the valid point about why viewers often consider Brando is playing an American 'businessman', but then misses the point where the character's back-story is referred to: the boxing career that didn't amount to much (think of Terry Malloy in 'On the Waterfront'); the references to him being a former revolutionary (ie: Zapata) and to working as a Japanese diplomat (see Brando's character Sakini in 'The Teahouse of the August Moon'); and moving to live in Tahiti (which Brando famously did whilst making 'Mutiny on the Bounty'). These references (along other autobiographical elements referred to within the film) blur the lines between what's true about us and what's isn't which, I suppose,is what the film is ultimately about.

One other aspect of the film which I think deserves mentioning is the opening title sequence. The film opens with images from a couple of Francis Bacon portraits - and appropriately so. If ever a film was able to capture the caged nature of the human condition (a key theme in Bacon's oeuvre), then 'Last Tango in Paris' is it.

And Brando in the leading role? Absolutely sensational. No other Hollywood actor could have produced such a brutally honest portrayal (one or two European actors might have managed it), but when watching this particular performance, we realise we are watching a very talent special indeed.

I enjoyed this film very much. I don't know how the film works as a literary adaptation but, judging it purely as a film on its own terms, it works well as a study in sexual obsession and jealousy. Irons is perfectly cast as the fixated aristocrat but the post-dubbing, whilst seamlessly executed, is a little off-putting as it clearly isn't Irons' own voice (despite what some IMDb posters seem to believe). Irons expertly portrays Swann's social aloofness and the way in which his obsession takes over his sense of reasoning. The film is exquisite to look at (as you would expect from a film with Nykvist as the cinematographer) and Delon gives a scene-stealing performance as Swann's camp best friend. Worth watching.

Everyone is entitled to their own opinions, of course - but I am simply astonished that this film has received so many positive comments here. I have not read the novel on which the film is based and I have watched Tarkovsky's version twice (because it demands it), but by judging this 'Solaris' on its own merits, I think this version is simply a load of old plop. Here's why: this version concentrates almost entirely on the love story at its centre and to carry its ideas through successfully, the relationship at its core has to be believable - which it clearly isn't. There is simply no chemistry at all between the two leads; I've seen more sexual sparks created between Shaggy and Scooby. And whilst George Clooney is competent enough - he's certainly no Donatas Banionis. And the casting of Natasha McElhone is a complete disaster. Why that irritating smug grin throughout the film? A futile exercise in wasting everyone's time and money. Avoid.

Just wanted to add a note about the apparent slightly negative comments about the visual quality of the Second Run DVD release - well, how petty can you get! This astonishing film is incredible to look at and is surely one of the most beautiful films ever made though not, it has to be said, in a conventional sense. Although some scenes feature genuinely authentic brutality, there is a strange dream-like quality to the film's look. The story itself demands total concentration throughout but, by the end, you will be fully rewarded for your efforts. A poetic masterpiece. Great work again by Second Run for making such a cinematic rarity available to view.

I am surprised that some reviewers are a little disappointed with this great film. I found it to be hugely entertaining, with many surprising twists and turns. OK some of the accents are a bit questionable, for example; most of the lead actors playing German officers use an authentic accent, whilst others in minor roles don't bother with one. The only two pieces of casting I have a slight problem with is using quintessential Scotsman Gordon Jackson as Omar Sharif's colleague and an American unknown actor as the German news-reporter. Sharif himself is excellent as the dogged, principled investigator, but it is O'Toole who dominates the film. He is simply chilling and quite believable as the withdrawn, intensely private, psychotic 'Butcher' of Warsaw. Well worth watching.