Word: tangoing
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Dates: during 1970-1979
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...number of Reeling's reviews, she loses (or more precisely abandons) this fine cutting edge, perhaps for the first time. Starting with Last Tango in Paris and picking up at the end of the collection with Shampoo, Godfather II and Nashville, Kael does something she's never done before: she lifts her analytical tools from the film itself and begins to sell it to the reader; she seems to ladle on superlatives for the publicists to lap up. About Tango, she writes, miscalculating badly, that "this is a movie people will be arguing about, I think, for as long...
What really sets these reviews apart from the rest is her private discovery, in each film, of a revolutionary jump in theme or technique, the unexpected tapping of a mother-lode. In Tango, she hits upon the bleak, angry use of explicit sex; in Shampoo, the expansion of the conventional romantic triangle into a romantic pentagon; and in Nashville, the seamless fusion of stylization and a documentary feel. She jumps up and down at these new affects, and never settles down to put her surgeon's tools to work. Sparked by a childlike fascination for film history and change...
Brando was disappointed by his most notorious film, Last Tango in Paris. "Bertolucci was a very sensitive director, but I didn't like the movie. It was too calculated, designed to make an impact rather than a statement. Bernardo wanted me to screw Maria Schneider on the screen. I told him, 'That's impossible. If that happens, our sex organs become the centerpiece of the film.' He never did agree with me. The Godfather"? What the hell did I know about a 65-year-old Italian who smokes twisted goat-shit cigars?" The young actor...
...Last Tango in Paris at 5:45 and 9:30; My Life To Live (Godard...
...Last Tango in Paris at 3:05 and 7:30; Inserts...