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: At the time of its release, the film was revolutionary for its graphic content and emotional honesty. Critics like Pauline Kael famously compared its impact to the premiere of Stravinsky’s Le Sacre du Printemps Ratings and Critical Scores
Paul establishes a bizarre contract. They will meet in that empty apartment, at random hours, without any exchange of personal information. "We don’t need names," Paul growls. "We don’t need jobs. We don’t need anything." Their relationship will be purely physical, a sanctuary away from the real world. He calls it "a game."
But ethically, the production is a stain on cinema. Maria Schneider paid the price for Bertolucci and Brando’s "vision."
The scene: Paul hunches over Jeanne’s prone body. He scoops a pat of butter onto his hand and forces it into her rectum as a lubricant. He says, "Now we’re going to do it with butter. We’re going to do it like animals."
The bare, echoing rooms represent the void within the protagonists. When they are outside the apartment, the camera work changes to reflect the chaotic reality of their external lives. IV. Performance and Realism
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: At the time of its release, the film was revolutionary for its graphic content and emotional honesty. Critics like Pauline Kael famously compared its impact to the premiere of Stravinsky’s Le Sacre du Printemps Ratings and Critical Scores
Paul establishes a bizarre contract. They will meet in that empty apartment, at random hours, without any exchange of personal information. "We don’t need names," Paul growls. "We don’t need jobs. We don’t need anything." Their relationship will be purely physical, a sanctuary away from the real world. He calls it "a game."
But ethically, the production is a stain on cinema. Maria Schneider paid the price for Bertolucci and Brando’s "vision."
The scene: Paul hunches over Jeanne’s prone body. He scoops a pat of butter onto his hand and forces it into her rectum as a lubricant. He says, "Now we’re going to do it with butter. We’re going to do it like animals."
The bare, echoing rooms represent the void within the protagonists. When they are outside the apartment, the camera work changes to reflect the chaotic reality of their external lives. IV. Performance and Realism