Latest news with #LastTango
New York Times
29-03-2025
- Entertainment
- New York Times
Last Tango in the Guggenheim
Sketch Pad Last Tango in the Guggenheim Members of the dance company Ballet Hispánico weren't the only ones who swirled amid the art in the museum's rotunda during a recent presentation and tango class. Share full article
New York Times
25-03-2025
- Entertainment
- New York Times
‘Being Maria' Review: The Muse's Side of the Story
When it comes to telling stories about the victims of abuse, filmmakers are often faced with a dilemma: to show or not show the act of violence. Showing could mean exploiting the victim's pain to satisfy viewers' curiosity; not showing could mean hedging around a hard truth. Jessica Palud's 'Being Maria' — a biopic of Maria Schneider, a French actress perhaps best known for playing the mistress of Marlon Brando's character in 'Last Tango in Paris' — chooses to show. In 1972, when the 19-year-old Schneider was shooting one of the film's many sex scenes, Brando (with the director Bernardo Bertolucci's blessing) improvised without telling her his intentions, using a stick of butter to perform what on-screen looks like anal penetration. 'Being Maria' recreates the scene — and it's a tough watch. Anamaria Vartolomei, who plays Schneider, conveys shock, discomfort, fear and shame in distressing close-ups. When the scene cuts, Brando (Matt Dillon), who had previously been chummy with Maria, looks sheepish. Bertolucci (Giuseppe Maggio) is unapologetic; he tells Maria the scene was meant to be intense. Loosely adapted from the memoir 'My Cousin Maria Schneider,' by Vanessa Schneider, the film doesn't stick around too long on Bertolucci's set. Benjamin Biolay's treacly string score adds an unsavory sentimental touch, but the rest of the film is quite sober as it moves through the decade of Schneider's life after 'Last Tango.' Showing how Schneider's trauma festered over time — and eventually calloused over — the film moodily weaves together scenes of her struggles with addiction, nights at the discothèque and experiences on other movie sets, relying on Vartolomei's edgy, delicate performance to signal Maria's underlying anxieties. If the meandering nature of the film makes the psychic fallout seem tonally scattered, it nevertheless conveys the sense that she's sleepwalking through life — and always fighting to snap out of it.
The Independent
10-02-2025
- Entertainment
- The Independent
How Hollywood is changing the age-gap love story
Lucy Brown is Professor of Film and Television at the University of Westminster. Hollywood is flipping the script on the age-old trope of older men paired with younger women. A new wave of films is showcasing relationships where older women are the romantic leads, pursuing younger men, challenging stereotypes like the "cougar" or "Mrs. Robinson" that have long dominated popular culture. Historically, Hollywood has perpetuated the image of older men with younger female partners, a practice dating back to the silent film era and reflecting broader societal norms. However, this on-screen portrayal doesn't align with reality. The average age gap in heterosexual relationships in the US is a mere 2.2 years, significantly smaller than depicted in movies. While research on heterosexual relationship preferences in Europe suggests men generally prefer younger partners, with the desired age gap widening as they age, women's preferences tell a different story. Studies indicate women prefer smaller age gaps as they grow older, and in their 60s, they often prefer slightly younger partners. This shift in on-screen representation could signal a move towards more realistic and diverse portrayals of relationships. The history of Hollywood age gaps Many Hollywood classics feature significant age gaps. Debbie Reynolds starred opposite a 40-year-old Gene Kelly when she was just 19 in Singin' in the Rain (1952). Kim Novak was paired with 50-year-old James Stewart in Vertigo (1958) when she was just 25. And Maria Schneider was only 19 when she was coupled with Marlon Brando, then 49, for Last Tango in Paris (1972). Reynolds and Schneider have both spoken about the abusive on-set power dynamics that ensued. Reynolds felt assaulted when Kelly 'shoved his tongue' down her throat, and Schneider accused both Brando and director Bernardo Bertolucci of sexual assault. More recent, and now notorious pairings, which demonstrate the ubiquity of double digit age differences include 30-year-old Catherine Zeta-Jones and 69-year-old Sean Connery in Entrapment (1990). A 27-year-old Eva Mendes paired with 47-year-old Denzel Washington in Training Day (2001). And 22-year-old Gemma Arterton as the romantic interest of 40-year-old Daniel Craig in Quantum of Solace (2008). Actor Laura Dern has reflected that the 20-year age gap between her and Sam Neill in Jurassic Park (1993), which was considered the norm in the 1990s, now feels 'completely inappropriate'. Flipping the script Audiences are tiring of Hollywood's habit of pairing younger stars with men old enough to be their fathers and are calling for change. The casting of Cillian Murphy and Florence Pugh in Oppenheimer (2023) received a backlash for the 20-year age gap between the two actors. This came particularly as the film featured lingering nudity of Pugh, and the age gap was ten years greater than the real life age gap between the characters they play. When Hollywood has depicted an inversion of this age gap dynamic in the past, it's generally been done to demonise the older woman. One of the most renowned examples is The Graduate (1967). The film starred Dustin Hoffman as a 21 year old at the mercy of a middle-aged seducer Mrs Robinson (Anne Bancroft). Mrs Robinson is at the periphery of the story and portrayed as a sad, fading beauty in competition with her daughter who eventually 'wins' the man. This depiction of a bitter older woman is being challenged by a surge of recent films that centre characters over 40. Babygirl (2025) stars 57-year-old Nicole Kidman as a CEO in a relationship with an intern 30 years her junior, defying gendered stereotypes and sexual power dynamics. Similarly, Anne Hathaway, 41 in The Idea of You, falls for a 24-year-old pop star. Unlike the daughter in Mrs Robinson, who is perceived as the competition, her character's daughter has her back and acknowledges the double standards women face when the age gap is this way around. Even so, 2024 was referred to dismissively by some as 'the year of the cougar' following the release of two Netflix romcoms, A Family Affair (again with Nicole Kidman, this time paired with 36-year-old Zac Efron) and Lonely Planet (with 57-year-old Laura Dern and 34-year-old Liam Hemsworth). Despite this online mockery, the trend looks set to continue. The upcoming Bridget Jones sequel, Mad About the Boy, will show Bridget (played by Renée Zellweger who is now in her 50s) dating a 29-year-old Leo Woodall. Meanwhile I Want Your Sex, set to release in late 2025, will star Olivia Wilde, 40, opposite Cooper Hoffman, 21. Women still only make up 23% of writers and directors in Hollywood. Interestingly, the recent films featuring older women and younger men couples have more women in key creative roles behind the scenes. Lonely Planet and Babygirl were written and directed by women (Susannah Grant and Halina Reijn). A Family Affair and May December were written by women (Carrie Solomon and Samy Burch). And I Want Your Sex and Mad About the Boy have a mix of genders on their writing teams. The need for more women to be involved in the creative decision-making to amplify women's voices is crucial. Research shows that women make up only 35% of speaking parts and roles for women start to nose-dive post 30. No wonder then that Reese Witherspoon, Amy Adams and Kerry Washington are just a few of the Hollywood actresses who have established production companies to tell stories that reflect the wide range of women's experiences, sexual desires and vulnerabilities – and celebrate the complexity and diversity of their relationships.
