A span of fifteen minutes - starting with the beginning of the credit sequence, until Paul and Jenny make love for the window, then leave the apartment, they will shoot a lot of movies together - this movie is the biggest film glory. Before the possibility of the film as a complete art form was exploited in almost every possible way, unfortunately, the film began to slide into clichés, sensational effects and dramatic tilts, as well as a pure slowdown. The craftsmanship of film production. But a start!!
The part of the film I emphasized here was ordered by two distinct saxophone models, the Gato Barbieri model. His theme is a medium-speed, moody ballad with all the features of the Barbary Latin fusion period, including the trademark Latin percussion, vibrator and rattle, but Paul and Jenny exit the apartment and travel to Paris to play some on the piano. Wild Ornette Coleman Free Jazz [Barbieri is playing with Coleman's soul mate Don Cherry] - This is the perfect accompaniment of the scene's half-masculine, half-happy tone.
The painter Francis Bacon once said: "Even in love, skin disorders can't be broken down." According to the sensitivity of the movie audience, the main factor in using two bacon portraits [male and female] to show credits is that it Can replace semi-aesthetic/semi-intellectual information or information that is only completely aesthetic. . This also shows that Bertolucci is immersed in culture - remember, this was the early 1970s. I wonder if Bertolucci means that the male/female in the Bacon painting can correspond directly to the two main characters, or is it just a general correspondence? On the list, see the name Jean-Pierre Leaud - what can the cinema ask for?
Fade: We see Paul standing under the elevated train tracks. The camera twitched in from the right rear, grabbed his head in his hand, and screamed at the noise of the passing train. He is a striker wearing a long, almost orange coat. When his face dominated the screen, we saw Jenny, an equally striking individual, soft-focusing, walking quickly behind him and catching up with him. His face was controversial, poor, desperate, helpless, sad expression. When she caught up and walked over and walked quickly, she stopped and stared at him for a moment. She is gorgeous and gorgeous - sensational headwear, long white coat, high black boots. [The scene is in some respects own Fashion designer Gitt Magrini. When she passed him, Bertolucci made sure to include a pair of very conservative black coats side by side in the leftmost shot - a complete contrast and comparison with Brando and Schneider, juxtaposed and spectacular. When she skipped the scavenger's broom on the path, we truly introduced one of the greatest female existences in the history of cinema.
She rushed forward and hurriedly skipped the broom, Bertolucci cut into the street below us to see the police - alert, accessible and available, which is an ironic situation because it completely reversed the end of the movie Situation When Jane asked so urgently, no police officer could find it. Then there was more close-up of Paul's confused face, both men and women staring up in the apartment - she was just outside the building, he was still under the train track.
We want to know - who are these two people? What is the relationship between them? The question is about to be answered and extended.
When I thought about renting an apartment, we saw Schneider for the first time - it was a superstar, maybe not the equality of Brando in performance, but it exceeded his presence on the screen and the equality of charm [she will Repeat this with Jack] Nicholson a few years later]. She hurried down the stairs to the cafe to call her mother. The other two were in the bathroom - an old woman brushing her dentures [its importance is...?] and Paul, contemplative. The only way he could get there before she was to go straight as she walked to the lobby of the building to read the apartment rental sign. At another moment, he will once again appear in a place in front of her - we couldn't know it at the time, but when the camera stayed by her in the phone booth and called her mother, he got the key from the apartment key. Concierge and enter.
This call brought us our first exposure - Jenny told her mother that she was going to see an apartment and then went to the station to meet Tom, probably her boyfriend or husband. But the visual exposure is equally strong - she opens the jacket, puts her hands on her hips, and the camera squats on her lap. Bertolucci's message is clear and not feminist - it is a woman ready.
When Jenny said, "I came to the apartment here," the concierge in the building begged the ignorant rental apartment. The concierge said she knew nothing about the sign and complained that people were coming and going and she never knew it. If she is willing, she tells Jenny to go to the apartment herself because she [courtesy] [with the foresight] is afraid of the mouse. She couldn't find the key; Jenny turned disgustingly; the concierge made a copy and made an insulting comment on Jenny's young man. The doorway suddenly sang, one hand extended outward, and an empty bottle was placed outside the apartment door. The main music theme - a bit too fanatical here - plays on the soundtrack. Bertolucci puts a neat little trick into the bottle's squeak, switching the focus from the background locker to Jeanne in the foreground. But the whole scene is an exercise in the movie - the camera starts to move backwards, moves to the right, and then slowly moves to the window until the window becomes the center lens. This is reminiscent of the first shot of a movie that selected Brando under the subway track.
Jenny put a black and gray lens in the elevator, in stark contrast to the sharp contrast of the scene.
Once inside the dark apartment, she opened the shadows and balcony door and was horrified to see Paul sitting by the fireplace. She said that when she entered the door and opened the door, he must have come in behind her, but he said no, he was already there. They almost immediately talked about where the furniture should go. He walks around; in a too obvious symbol, or metaphor, or whatever you want to call, her reflections are shown in a broken mirror. This time, when she asked him, panning the camera backwards instead of approaching, in English, "What are you doing?" She - We - completely unable to understand the man's dark, strange behavior. She and our audience don't know about him.
In a blue-and-white photo, in conflict with everything else we've seen so far [black and gray in the elevator], she went to the bathroom and used the toilet at will. She is back; the camera supports that her hat is isolated on the floor; she asks, "Are you still there?" He swept her into his arms.
Since sex scenes often appear in movies, this time it is open, closed, and dazzling. Its barbaric power is excited, but there are too many problems - for example, they have passed each other twice, once on the street under the train track, and then in the café's toilet. They are all unforgettable people - they don't know each other in the apartment? Maybe they did choose not to comment. This will help explain spontaneous combustion.
I can imagine what feminist critics might say about it - especially the way her body dangles like a marionette after it falls to the floor and the company is doing it. A clear shot of sexual behavior, saying that no Paul is more than the top priapic antics. It is not my purpose to defend or criticize here.
The strange thing is that although Paul did not take off his coat during any meeting, when they left the building, we saw him through the glass in the front door and put it on. what ? ! When did he take off? When they came out, he took a naughty, almost mischievous smile - and there was no pride in any aspect - and Jenny seemed shocked, stunned and confused. He took the sign down the apartment, wrinkled it, threw it away - the lease was signed and the relationship had begun.
Orignal From: Postmodern film approach - the last tango of Paris
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