A social media storm has blown up in recent days about a simulated rape scene from an old movie from 1972 called Last Tango In Paris.
It starred a then 48-year-old Marlon Brando as Paul, a middle-aged man having a desperate fling with a 19-year-old-girl after the suicide of his wife. There is a scene where Paul rapes Jeanne (German actress Maria Schneider) and uses butter as a lubricant. Director Bernardo Bertolucci said: “I wanted Maria to feel – not to act – the rage and humiliation. Then she hated me for all of her life.”
Typically in the internet age, people only read the headlines and think Maria Schneider was actually raped for real on camera. She wasn’t. It is alleged that Brando did lubricate her anally with the butter on his finger. That changes things. We will never see it legally challenged in court, but it would be something to see lawyers try to work out what happened. Marlon Brando was a man who did whatever the hell he wanted and left the wreckage behind for others to deal with. He said: “Like a large number of men, I, too, have had homosexual experiences, and I am not ashamed.” He had sixteen children, three marriages and seemingly endless affairs. Today, he would probably be called a sex addict.
Brando died aged 80 in 2004. Maria Schneider died of cancer in 2011. She had a history of drug problems and mental problems after Last Tango In Paris.
The surreptitious plotting of the rape scene itself with Brando is a director going too far. It is deliberate humiliation of an actor on set, which is pretty shabby behaviour already.
Brando also felt he’d been violated by Bertolucci but in a psychological way, when he got him to improvise on camera about his painful childhood. “I don’t have any good memories,” Brando says through the mask of his character Paul. He goes on to say his father was “a whore fucker and a bar fighter…He was tough.” Bertolucci gloated later on that he’d made Brando reveal all his secrets on film. Brando, raging and trying not to admit his humiliation, said: “You think that’s me?” Brando swore he’d never reveal as much of himself in a film again and he didn’t. He said: “I’m not going to lay myself at the feet of the American public and invite them into my soul. My soul is a private place. And I have some resentment of the fact that I live in a system where you have to do that.” He did a lot of movies for massive fees like Superman in 1978. He would never do anything as raw or challenging as Last Tango In Paris.
Some have called for all copies of Last Tango to be burned. I say no. The scene at the start where a grieving Brando raves and rants at his dead wife in her coffin is probably the best acting he ever did. Sure The Godfather won him the Oscar and gets more praise but the foul-mouthed rage, confusion and despair he conjures up out of nothing, is phenomenal.
A court once ruled that all copies of F.W. Murnau’s Nosferatu be burned because it had infringed the copyright of Bram Stoker’s Dracula. Thankfully some copies survived as it is, for my money, the best Dracula movie ever made and a remarkable example of German expressionist cinema. Need we go into Nazi book-burning to show how this kind of censorship is wrong?
It isn’t the only occasion of directors using odd, disrespectful means to get performances out of actors. On the set of The Exorcist, director William Friedkin fired guns behind actors to get the right level of fear out of them.
Jason Miller, who player Father Karras in the film, reacted angrily to Friedkin’s weapons and said: “You son of a bitch, don’t you ever do that again!” Friedkin went further at the end of the picture when a real priest, not an actor, had to give his friend the last rites and wasn’t as upset as he should have been. Friedkin belted the priest across the face, called action and the priest’s hands were shaking as he blessed his dying friend on the ground (Tony Scott did the same thing to actress Chelsea Field on the set of Bruce Willis movie The Last Boy Scout in 1991.)
Perhaps Tony Scott took a leaf out of his brother Ridley’s book. While directing Alien in 1979, it came time to shoot the infamous “chest-burster” scene where the infant alien rips its way out of John Hurt’s writhing body. The cast were not told what was going to happen. They arrived on set to see everything covered in plastic and the writers “giggling like kids” as Sigourney Weaver put it.
The looks of shock and astonishment on the faces of the actors are real. Nothing like it had ever been seen before in a film and they were watching it as it was happening before their very eyes. Ridley Scott had pulled a mean trick on his actors but got some no-bullshit reactions from them.
Do the ends justify the means? How far do we want the creators of art to go on our behalf? I’ll let you be the judge of that.
© Copyright 2016, Stewart Stafford. All rights reserved.