This must be the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made, and so it’s probably only natural that an audience, anticipating a voluptuous feast from the man who made The Conformist, and confronted with this unexpected sexuality, and the new realism it requires of the actors, should go into shock. Bertolucci and Brando have altered the face of an art form. Who was prepared for that?
— Pauline Kael on Bernardo Bertolucci’s Last Tango in Paris (1972)
(image via fuckyeahmovieposters; text via guardian.co.uk)

This must be the most powerfully erotic movie ever made, and it may turn out to be the most liberating movie ever made, and so it’s probably only natural that an audience, anticipating a voluptuous feast from the man who made The Conformist, and confronted with this unexpected sexuality, and the new realism it requires of the actors, should go into shock. Bertolucci and Brando have altered the face of an art form. Who was prepared for that?

— Pauline Kael on Bernardo Bertolucci’s Last Tango in Paris (1972)

(image via fuckyeahmovieposters; text via guardian.co.uk)

Pauline Kael’s renowned review of Bertolucci’s Last Tango in Paris for The New Yorker on October 28, 1972.
(image via fuckyeahmovieposters)

Pauline Kael’s renowned review of Bertolucci’s Last Tango in Paris for The New Yorker on October 28, 1972.

(image via fuckyeahmovieposters)