{"id":288,"date":"2014-07-08T18:49:33","date_gmt":"2014-07-08T16:49:33","guid":{"rendered":"https:\/\/patrioti.al\/?p=288"},"modified":"2014-07-08T18:49:33","modified_gmt":"2014-07-08T16:49:33","slug":"last-tango-in-paris-1972","status":"publish","type":"post","link":"https:\/\/patrioti.al\/de\/last-tango-in-paris-1972\/","title":{"rendered":"Last Tango in Paris (1972)"},"content":{"rendered":"

nga Anisa Vrenozi<\/span><\/p>\n

Regjisor: <\/em>Bernardo Bertolucci<\/p>\n

Skenari:<\/em> Bernardo Bertolucci & Franco Arcalli<\/p>\n

Aktor\u00eb:<\/em> Marlon Brando,\u00a0Maria Schneider Jean-Pierre L\u00e9aud, Maria Michi, etc.<\/p>\n

\u201cLast Tango in Paris\u201d<\/em>\u00a0i Bernardo Bertolucci u prezantua p\u00ebr her\u00eb t\u00eb par\u00eb para publikut gjat\u00eb nat\u00ebs s\u00eb fundit t\u00eb festivalit t\u00eb filmit n\u00eb New York n\u00eb 1972 dhe ajo dat\u00eb u sh\u00ebnua p\u00ebrgjithmon\u00eb n\u00eb historin\u00eb e filmit. Referuar kritik\u00ebs s\u00eb atyre viteve, efekti i filmit n\u00eb audienc\u00eb ishte i nj\u00ebjt\u00eb me at\u00eb t\u00eb premier\u00ebs s\u00eb \u201cLe Sacre du Printemp\u201d <\/em>t\u00eb Stravinsky-t n\u00eb Paris n\u00eb 1913:nj\u00eb ngaz\u00ebllim hipnotizues, instikte primitive dhe padyshim erotizmi m\u00eb tep\u00ebr se instiktiv. I cil\u00ebsuar si filmi erotik m\u00eb influencues n\u00eb historin\u00eb e kinematografis\u00eb, \u201cLast Tango<\/em>\u201d \u00ebsht\u00eb nd\u00ebr filmat m\u00eb liberalizues realizuar nga njeriu i cili i kishte dh\u00ebn\u00eb kinemas\u00eb \u201cThe Conformist<\/em>\u201d (Il Conformista<\/em>) dhe q\u00eb n\u00eb fillim vitet \u201970 u p\u00ebrcolli jo vet\u00ebm erotizmin por nj\u00eb realitet t\u00eb ri n\u00eb kinema.<\/p>\n

Tek diskutohet p\u00ebr erotizmin, pritshm\u00ebrit\u00eb e publikut t\u00eb kultivuar me kineman\u00eb shkojn\u00eb menj\u00ebher\u00eb tek Bertolucci, p\u00ebr vet\u00eb eleganc\u00ebn dhe sensualitetin n\u00eb realizmin e filmave erotik\u00eb t\u00eb cil\u00ebt pasuan m\u00eb von\u00eb \u201cLast Tango\u201d<\/em>-n si \u201cThe Sheltering Sky\u201d<\/em>, \u201cStealing Beauty\u201d<\/em>, \u201cThe Dreamers\u201d<\/em>, etc. Padyshim, mjesht\u00ebria e tij krijuese n\u00eb erotiz\u00ebm kulmon me \u201cLast Tango in Paris\u201d.<\/em><\/p>\n

Skenari i filmit fokusohet tek p\u00ebrpjekjet e Paul (Marlon Brando), nj\u00eb Amerikani q\u00eb jeton n\u00eb Paris, t\u00eb largohet nga ajo \u00e7\u2019ka \u00ebsht\u00eb jeta e tij pas vetvrasjes s\u00eb bashk\u00ebshort\u00ebs. N\u00eb nj\u00eb apartament bosh, a thua t\u00eb ishte fryt i rast\u00ebsis\u00eb m\u00eb t\u00eb stisur, ai takon Jeanne (Maria Schneider). N\u00eb dhomat bosh t\u00eb k\u00ebtij apartamenti ata kalojn\u00eb tre pasdite erotizmi instiktiv dhe primitiv, pa ditur asgj\u00eb mbi nj\u00ebri-tjetrin, madje as emrat, me bindjen e Paul-it q\u00eb seksi ishte gjithcka kishte r\u00ebnd\u00ebsi n\u00eb takimet e tyre.\u00a0 Si shikues t\u00eb jasht\u00ebm, ne i ndjekim t\u00eb dy n\u00eb jet\u00ebt e tyre jasht\u00eb atij apartamenti: Paul n\u00eb hotelin e gruas s\u00eb tij dhe Jeanne me n\u00ebn\u00ebn dhe t\u00eb fejuarin Tom, nj\u00eb regjisor televizioni, i cili po xhiron nj\u00eb film me metrazh te shkurt\u00ebr mbi jeten e saj, p\u00ebrgjat\u00eb nj\u00eb jave\u2026 deri n\u00eb dit\u00ebn e dasm\u00ebs s\u00eb tyre.<\/p>\n

Seksi n\u00eb \u201cLast Tango in Paris\u201d <\/em>shpreh motivimin e brendshem t\u00eb personazheve. Nevoja p\u00ebr izolim nga bota e jashtme \u00ebsht\u00eb padyshim e Pauli-it, i cili sjell n\u00eb dhomat e atij apartamenti inatin e tij seksual, si pjes\u00eb t\u00eb formimit t\u00eb tij apo ndoshta si pasoj\u00eb e tradhtive t\u00eb pranuara n\u00eb heshtje t\u00eb bashk\u00ebshortes, dhe nevoj\u00ebn e tij p\u00ebr t\u00eb denigruar Jeanne dhe veten, teksa k\u00ebrkon n\u00ebnshtrim total n\u00eb d\u00ebshirat e tij seksuale: skllav\u00ebrim i cili p\u00ebr t\u00eb \u00ebsht\u00eb e v\u00ebrteta seksuale. Brenda atij apartamenti, forca e tij mashkullore dhe i t\u00ebr\u00eb miti q\u00eb ai ka nd\u00ebrtuar mbi t\u00eb, jan\u00eb faktet m\u00eb t\u00eb r\u00ebnd\u00ebsishme. Paul shtyn n\u00eb skaje irracionalitetin e tij gati t\u00eb mjeruesh\u00ebm dhe drejton t\u00ebr\u00eb rrjedhshm\u00ebrin\u00eb e asaj marr\u00ebdh\u00ebnie po aq irracionale\u2026nd\u00ebrsa Jeanne\u2026ajo \u00ebsht\u00eb aq erotikisht e n\u00ebnshtruar ndaj t\u00eb b\u00ebrit dashuri m\u00eb t\u00eb aq sa ato or\u00eb t\u00eb kaluara n\u00eb at\u00eb partament ia kthyer n\u00eb kuptimin e dit\u00ebve t\u00eb saj\u2026 Dhe t\u00eb dy p\u00ebrfaq\u00ebsojn\u00eb at\u00eb \u00e7\u2019ka p\u00ebr dekadat e fundit ishte modeli i marr\u00ebdh\u00ebnieve seksuale: mashkulli dominant dhe femra adhururuese- model i cili tashm\u00eb po binte.<\/p>\n

Ajo q\u00eb ndodh n\u00eb at\u00eb apartament midis Paul dhe Jeanne p\u00ebrqaf\u00ebson t\u00ebr\u00eb bot\u00ebkuptimin e filmit: Si seksi arrin t\u00eb p\u00ebrmbush\u00eb dy nevoja t\u00ebr\u00ebsisht t\u00eb ndryshme. Paul ka nevoj\u00eb t\u00eb humbas\u00eb vetveten n\u00eb dhimbje dhe inat, t\u00eb imponoj\u00eb burr\u00ebrin\u00eb e tij n\u00eb nj\u00eb t\u00eb panjohur sepse d\u00ebshtoi me gruan e tij. Jeanne i p\u00ebrgjigjet nj\u00eb burri, i cili megjith\u00ebse duket emocionalisht i shk\u00ebputur, \u00ebsht\u00eb t\u00ebr\u00ebsisht i fokusuar tek ajo dhe ka nj\u00eb nevoj\u00eb d\u00ebshp\u00ebruese p\u00ebr t\u00eb. Praktikisht, ai \u00ebsht\u00eb e kund\u00ebrta e Tom, i cili filmon \u00e7do moment t\u00eb jet\u00ebs s\u00eb saj, por ama mendon vet\u00ebm p\u00ebr filmin. Ajo e ndjen q\u00eb Paul ka nevoj\u00eb p\u00ebr t\u00eb ashtu si askush tjet\u00ebr nuk do mundet dot m\u00eb.<\/p>\n

Pas tre dit\u00ebsh, bashk\u00ebshortja e Paul varroset dhe ai tashm\u00eb \u00ebsht\u00eb i gatsh\u00ebm t\u00eb rifilloj\u00eb jet\u00ebn e tij: t\u00eb jetoj\u00eb normalisht dhe t\u00eb dashuroj\u00eb Jeanne-n. Por ama Paul \u00ebsht\u00eb 45 vje\u00e7 nd\u00ebrsa Jeanne vet\u00ebm 20; ai \u00ebsht\u00eb nj\u00eb burr\u00eb q\u00eb ka par\u00eb s\u00eb tep\u00ebrmi nga jeta nd\u00ebrsa ajo nj\u00eb vajz\u00eb q\u00eb ende nuk di asgj\u00eb.
\nPasi largohen nga apartamenti, Paul e ndjek Jeanne dhe e bind t\u00eb bisedojn\u00eb n\u00eb nj\u00eb sall\u00eb vall\u00ebzimi n\u00eb t\u00eb cil\u00ebn po zhvillohet nj\u00eb konkurs tango-je dhe ku ato \u2018vall\u00ebzojn\u00eb tangon e fundit.\u2019 Dhe teksa takohen n\u00eb bot\u00ebn e jashtme, asgj\u00eb nuk ndjehet si m\u00eb par\u00eb.<\/p>\n

M\u00eb pas \u00ebsht\u00eb skena mbyll\u00ebse, Paul braktis sjelljen e tij t\u00eb m\u00ebparshme, tregon emrin dhe historin\u00eb e tij dhe duket sikur e d\u00ebshiron Jeanne-n n\u00eb m\u00ebnyr\u00ebn m\u00eb normale, madje at\u00eb banale q\u00eb ne njohim; ashtu si nj\u00eb burr\u00eb n\u00eb mosh\u00ebn e tij d\u00ebshiron sensualitetin rinor t\u00eb nj\u00eb vajze.\u00a0 Kjo ndryshon gjith\u00e7ka\u2026 dhe dilema e shikuesit t\u00eb k\u00ebtij filmi \u00ebsht\u00eb: a \u00ebsht\u00eb e pritshme apo e justifikuesshme ajo \u00e7\u2019ka Jeanne i b\u00ebn Paul n\u00eb apartamentin e n\u00ebn\u00ebs s\u00eb saj? Bertolucci vet\u00eb i \u00ebsht\u00eb pergjigjur k\u00ebsaj pyetje: \u201cE lash\u00eb fundin e paqart\u00eb sepse vet\u00eb jeta n\u00eb vetvete \u00ebsht\u00eb e till\u00eb.<\/em>\u201d<\/p>\n

Dhe me t\u00eb v\u00ebrtet\u00eb, nj\u00eb histori e till\u00eb, p\u00ebrtej \u00e7do logjike dhe racionalieti, p\u00ebrtej konvencionit dhe normave, madje p\u00ebrtej ndjesis\u00eb dhe instiktit, kurrsesi nuk mund t\u00eb p\u00ebrfundonte me t\u00eb dy personazhet t\u00eb gjall\u00eb deri n\u00eb fund.
\nGjenialitetit dhe mjesht\u00ebris\u00eb s\u00eb Bertolucci-t i atribuohen shum\u00eb merita p\u00ebr konceptimin dhe realizmin e k\u00ebtij filmi, por atributi kryesor p\u00ebr sjelljen n\u00eb sken\u00eb e asaj \u00e7\u2019ka konsiderohet si\u00a0cin\u00e9ma verit\u00e9, <\/em>gjithsesishkon p\u00ebr Marlon Brando. Roli i Paul u konceptua duke integurar n\u00eb personazhin e tij element\u00eb nga vet\u00eb karakteri dhe prezenca skenike e Brando-s\u00eb pasi sip\u00ebrfaqja e loj\u00ebs s\u00eb tij aktoriale shpreh aq shum\u00eb t\u00eb asaj \u00e7\u2019ka po ndodh p\u00ebr s\u00eb brendshmi. N\u00eb nj\u00eb nivel sip\u00ebrfaq\u00ebsor, Brando, me influenc\u00ebn e tij Amerikane dhe monolog\u00ebt e improvizuar e p\u00ebrcjell mirefilli personazhin e Paul si nj\u00eb Amerikan n\u00eb nj\u00eb vend t\u00eb huaj, n\u00eb nj\u00eb m\u00ebnyr\u00eb q\u00eb nj\u00eb regjizor italian nuk mund ta b\u00ebnte dot vet\u00ebm. Por ama, n\u00eb nj\u00eb nivel m\u00eb t\u00eb thell\u00eb profesional dhe ndjesor, ashtu si vet\u00eb Bertolucci shprehet, regjizori ka zbuluar t\u00ebr\u00eb dimensionet e \u00a0bot\u00ebkuptimit t\u00eb filmit gjat\u00eb procesit t\u00eb realizmit t\u00eb tij dhe kjo e kthen n\u00eb art realizmin e filmave. Me \u201cTangon e fundit\u201d Bertolucci dhe Brando i dhan\u00eb nj\u00eb form\u00eb t\u00eb re artit kinematografik.
\n\u201cLast<\/em> Tango in Paris<\/em>\u201d u censurua p\u00ebr shum\u00eb vite n\u00eb Itali dhe vwnde t\u00eb tjera deri n\u00eb shfaqjen e tij t\u00eb plot\u00eb n\u00eb fillimvitet \u201980. Pelikula origjinale e filmit i shp\u00ebtoi rast\u00ebsisht urdh\u00ebrit t\u00eb djegies t\u00eb dh\u00ebn\u00eb nga gjykatat italiane dhe u konservua n\u00eb Franc\u00eb deri n\u00eb shfaqjen e versionit t\u00eb sot\u00ebm t\u00eb filmit, i cili s\u00ebrish \u00ebsht\u00eb i paplot\u00ebsuar me gjith\u00eb skenat e xhiruara nga Bertolucci. Megjith\u00ebse dekadat q\u00eb vijuan, ku realizimet kinemtografike tejkaluan \u00e7do lloj konvecioni dhe norme t\u00eb vendosur m\u00eb par\u00eb n\u00eb kinema dhe art, shum\u00eb pak filma serioz\u00eb sfiduan aktor\u00ebt t\u00eb eksploronin dimensione m\u00eb t\u00eb thella njer\u00ebzore ashtu si krijimi i Bertolucci-t. Asnj\u00eb realizim kinematografik q\u00eb prej 1972 nuk ka arritur t\u00eb jet\u00eb aq seksualisht intim, emocionalisht p\u00ebrcjell\u00ebs, \u2018i ndersh\u00ebm\u2018 madje dhe transgresiv si \u201cLast Tango in Paris\u201d<\/em>.<\/p>\n

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nga Anisa Vrenozi Regjisor: Bernardo Bertolucci Skenari: Bernardo Bertolucci & Franco Arcalli Aktor\u00eb: Marlon Brando,\u00a0Maria Schneider Jean-Pierre L\u00e9aud, Maria Michi, etc. \u201cLast Tango in Paris\u201d\u00a0i Bernardo Bertolucci u prezantua p\u00ebr her\u00eb t\u00eb par\u00eb para publikut gjat\u00eb nat\u00ebs s\u00eb fundit t\u00eb festivalit t\u00eb filmit n\u00eb New York n\u00eb 1972 dhe ajo dat\u00eb u sh\u00ebnua p\u00ebrgjithmon\u00eb n\u00eb…<\/p>\n","protected":false},"author":2,"featured_media":290,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[218],"tags":[217,224],"class_list":["post-288","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-letersianeekran","tag-filma","tag-filmologji-2"],"_links":{"self":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/288","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/comments?post=288"}],"version-history":[{"count":0,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/posts\/288\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media\/290"}],"wp:attachment":[{"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/media?parent=288"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/categories?post=288"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/patrioti.al\/de\/wp-json\/wp\/v2\/tags?post=288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}