New review: Last tango in Paris 01.08.2016



The ideology of the “new left” with its pathos of emancipation of all instinctive, spontaneous, direct, not change bourgeois society is institutionally (though that was its primary goal), but having a large deconstructive potential, she was given the opportunity to speak openly (without camouflage sublimation) that was supplanted over the centuries at the semantic periphery of the physiological side of human life, the sphere of the instincts, which appeared in all its frankness and immediacy (in the film Bertolucci the most revealing episodes when Jeanne crawling after the cat, mimicking its habits, and when the heroes instead to call their names, they decide to growl to each other).

Rough, sometimes cynical physicality “Last tango in Paris” comes not from the thirst of shocking, and the reluctance to introduce new to old form a new corporeality in the old romantic clothes. However, Bertolucci objective enough not to turn his movie in an optimistic Manifesto of the era of hedonism. Moreover, he first identified the range of psychological problems that will arise from it seems to be completely emancipated people “after ‘ 68”. The main one is the increased alienation between people, the relationship, becoming fleeting and fragile, do not bring happiness, there is a flattening of the relationship, life becomes a series of mimoletnosti, sliding on the surface without sinking depth.

Bertolucci confronts Paul and Jeanne as two worlds, two freedoms, two of the despair of the era of “post-revolution”, and at the same time — the two types of rebels, most often seen on the barricades of may ‘ 68. Jeanne is akin to the heroines of “Daisies” or a twelve year old Zazie from the film Louis Malle and books of Raymond Keno, ideas interested her less than coloring gray everyday life of crazy escapades and nomadic drift.

So her living in constant escolania from the obligations and boredom one day and meets Paul, a man of an entirely different philosophical warehouse, although he also leads a marginal life. The Floor conflict with the bourgeois world is deeper than Jeanne: throughout his life, which was a lot of different professions, occupations, travel, and risky ventures (including participation in the left movement), Paul attempts to show by the society in which the essence is at odds with the visibility.

He sees life as producing chaos, where the raging energy of the instincts, and social institutions like a lie artificial motivations, aiming to channel the power of the original impulse into a socially acceptable direction. In his opinion, hypocrisy in bourgeois society is diffuse, any romance, sentimentality, and the poeticizing of the instincts is his offspring, for it seeks to apply moral criteria to what is immoral at its core. He is a cynic in the sense that it takes constant ripping, as it seems, about the covers to get to the bare truth, which is the instinct.

At the first meeting with Jeanne Gender requires it one of silence (not to say anything about himself, his past life, not even a name) and he says nothing about himself — he originally wanted to maintain the physiological frame of their relationship clean. Says directly: “I don’t know anything about what’s going on with you outside this room.” Paul wants to create a refuge area, where there are no social laws, where there is no deception that things are called by their names (because even half as extensive use profane language, not to “distort” the original impulses and motives), where the instincts manifest themselves openly in their gross physiology.

Jeanne, however, always tries to tell about yourself and to learn about the Field, and gradually in their first purely physiological relationship invade memories and unresolved issues. Paul is trying to return to the old model of relations the only way they know — through the ripping of the veils of words, people, situations — through cynicism. The paradox is that Jeanne all ready to forgive him until, while Sex is not a desire for a long time to spend my life with — he first wants to know her name: she says it while you press the trigger. The name merges with the shot (Jeanne shoots instinctively, without intent). All this time he taught her to live in the power of instincts, without pseudodementia, names, lies, and conventions; as soon as he violates its rules, it is protected. He taught her that.

“Last tango in Paris” is so difficult in the psychological plan it is because that shows the new situation in human relations that emerged after 1968: the appearance in conditions of sexual freedom is not yet described complexes and fears that may lead to a tragic outcome — that makes the film Bertolucci bright enough evidence of the first consequences of the philosophical and ideological turn of the turn of 1960-1970-ies.

The ideology of the “new left” with its pathos of emancipation of all instinctive, spontaneous, direct, not change bourgeois society is institutionally (though that was its primary goal), but having a large deconstructive potential, she was given the opportunity to speak openly (without camouflage sublimation) that was supplanted over the centuries at the semantic periphery of the physiological side of human life, the sphere of the instincts, which appeared in all its frankness and immediacy (in the film Bertolucci the most revealing episodes when Jeanne crawling after the cat, mimicking its habits, and when the heroes instead to call their names, they decide to growl to each other).

Rough, sometimes cynical physicality “Last tango in Paris” comes not from the thirst of shocking, and the reluctance to introduce new to old form a new corporeality in the old romantic clothes. However, Bertolucci objective enough not to turn his movie in an optimistic Manifesto of the era of hedonism. Moreover, he first identified the range of psychological problems that will arise from it seems to be completely emancipated people “after ‘ 68”. The main one is the increased alienation between people, the relationship, becoming fleeting and fragile, do not bring happiness, there is a flattening of the relationship, life becomes a series of mimoletnosti, sliding on the surface without sinking depth.

Bertolucci confronts Paul and Jeanne as two worlds, two freedoms, two of the despair of the era of “post-revolution”, and at the same time – the two types of rebels, most often seen on the barricades of may ‘ 68. Jeanne is akin to the heroines of “Daisies” or a twelve year old Zazie from the film Louis Malle and books of Raymond Keno, ideas interested her less than coloring gray everyday life of crazy escapades and nomadic drift.

So her living in constant escolania from the obligations and boredom one day and meets Paul, a man of an entirely different philosophical warehouse, although he also leads a marginal life. The Floor conflict with the bourgeois world is deeper than Jeanne: throughout his life, which was a lot of different professions, occupations, travel, and risky ventures (including participation in the left movement), Paul attempts to show by the society in which the essence is at odds with the visibility.

He sees life as producing chaos, where the raging energy of the instincts, and social institutions like a lie artificial motivations, aiming to channel the power of the original impulse into a socially acceptable direction. In his opinion, hypocrisy in bourgeois society is diffuse, any romance, sentimentality, and the poeticizing of the instincts is his offspring, for it seeks to apply moral criteria to what is immoral at its core. He is a cynic in the sense that it takes constant ripping, as it seems, about the covers to get to the bare truth, which is the instinct.

At the first meeting with Jeanne Gender requires it one of silence (not to say anything about himself, his past life, not even a name) and he says nothing about himself – he originally wanted to maintain the physiological frame of their relationship clean. Says directly: “I don’t know anything about what’s going on with you outside this room.” Paul wants to create a refuge area, where there are no social laws, where there is no deception that things are called by their names (because even half as extensive use profane language, not to “distort” the original impulses and motives), where the instincts manifest themselves openly in their gross physiology.

Jeanne, however, always tries to tell about yourself and to learn about the Field, and gradually in their first purely physiological relationship invade memories and unresolved issues. Paul is trying to return to the old model of relations the only way they know – through the ripping of the veils of words, people, situations – through cynicism. The paradox is that Jeanne all ready to forgive him until, while Sex is not a desire for a long time to spend my life with – he first wants to know her name: she says it while you press the trigger. The name merges with the shot (Jeanne shoots instinctively, without intent). All this time he taught her to live in the power of instincts, without pseudodementia, names, lies, and conventions; as soon as he violates its rules, it is protected. He taught her that.

“Last tango in Paris” is so difficult in the psychological plan it is because that shows the new situation in human relations that emerged after 1968: the appearance in conditions of sexual freedom is not yet described complexes and fears that may lead to a tragic outcome – that makes the film Bertolucci bright enough evidence of the first consequences of the philosophical and ideological turn of the turn of 1960-1970-ies.


New review: Last tango in Paris 01.08.2016

Поделиться в соц. сетях

Share to Google Buzz
Share to Google Plus
Share to LiveJournal