Wretched behaviour by bullying directors is not unusual. In the public interview, Bertolucci went no further than to confirm pretty much what Schneider stated above. “The sequence of the butter is an idea that I had with Marlon in the morning before shooting,” he said and then went on to state that Schneider had never forgiven him. “I think she hated me and also Marlon because we didn’t tell her that there was that detail of the butter used as lubricant,” he said. After the scene, Marlon didn’t console me or apologise. “I should have called my agent or had my lawyer come to the set because you can’t force someone to do something that isn’t in the script, but at the time, I didn’t know that. ”Marlon said to me: ‘Maria, don’t worry, it’s just a movie,’ but during the scene, even though what Marlon was doing wasn’t real, I was crying real tears. I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci. As long ago as 2007, Schneider, 19 when the film was shot, said that the butter sequence was sprung on her without warning. He famously uses a scoop of butter as lubricant. As all readers of a certain generation will know, Last Tango in Paris features a notorious scene in which Brando’s character (because his wife’s dead or something) anally rapes Schneider on the floor of a Parisian apartment.
Read some Charles Bukowski if you doubt it.Īnyway, here’s what happened. There was a lot of this in supposed intellectual circles at the time.
We should, therefore, excuse him treating this unfortunate teenager like dirt. Poor wee Marlon Brando has lost his wife. Released in a grubby era, during which male artists frequently abused and distorted the advances of the sexual revolution, the film always came across as an unpleasant celebration of patriarchal dominance and an argument for Narcissism as therapy. It sounds as if the attendees at the public interview rather expected that sort of outrage to happen on the set of Last Tango.
We might also ask why, even after Bertolucci confirmed the offence three years ago, it took so long for the statement to become news. More particularly, a woman who never became a proper star will not be granted the credibility of a powerful director with many awards upon his groaning shelf. Why did this only become news when Bernardo Bertolucci confirmed something that Schneider had been saying for decades? In the patriarchal empire of cinema a woman’s testament is as nothing to that of a man. There are many questions to be asked following the belated revelations concerning Maria Schneider’s apparent mistreatment on the set of Last Tango in Paris in 1972.
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