Review of Last Tango in Paris (1972) by Pauline Kael for New Yorker — 02 Jan 2018
When Brando improvises within Bertolucci's structure, his full art is realized; his performance is intuitive, rapt, princely. Working with Brando, Bertolucci achieves realism with the terror of actual experience still alive on the screen.
You can read the full review where it was originally posted online.
This review of Last Tango in Paris (1972) was written by Pauline Kael and published by New Yorker on 02 January 2018.
Last Tango in Paris has generally received positive reviews.
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