But that argument reveals a fundamental inequity that the #MeToo movement is only beginning to expose: In Hollywood, some people, most of them men, have the power to decide what makes great art - and who deserves to get hurt in order to create it. And in a time of reckoning around sexual misconduct, misogyny, and abuse of power in Hollywood, it deserves to be remembered as part of his legacy.īertolucci argued that it was necessary to humiliate Schneider in order to make his film. But it was an incident of real sexual humiliation nonetheless, by all accounts. “I wanted Maria to feel, not to act,” he said.īrando didn’t actually penetrate Schneider in the scene. The director acknowledged that he’d sprung the butter detail on Schneider at the last minute, because he wanted her onscreen humiliation and rage to be real. The scene became the target of renewed scrutiny beginning in 2016, when a 2013 video clip in which Bertolucci discussed the film went viral. “I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci.” But as Schneider made clear, the feelings of violation we see onscreen aren’t just acting - they’re real. The scene is intended to be violent and disturbing, with Paul hitting Jeanne and penetrating her as she cries. In a 2007 interview with the Daily Mail, Schneider said the scene wasn’t in the original script, and that Brando and Bertolucci had told her about it just before they began filming. Marlon Brando’s character, Paul, rapes actress Maria Schneider’s character, Jeanne, using a stick of butter as lubricant. Bernardo Bertolucci, who died on Monday at the age of 77, has received widespread acclaim for his decades of filmmaking, winning Oscars, Golden Globes, and the first-ever Honorary Palme d’Or Award at the Cannes Film Festival in 2011.īut one part of his career has been the subject of increasing scrutiny in recent years: a rape scene in Bertolucci’s 1972 film Last Tango in Paris.
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