Conventions for Representing Sex in ‘Last Tango in Paris’ and ‘Deep Throat’

Observations ~

‘Last Tango in Paris’ represents sex in a conventional mainstream 1972 European art house style but ‘pushes the envelope’ of the genre by introducing edgy, dark content such as the digital anal penetration of Paul, the butter-assisted sodomising of Jeanne and the final public ‘handjob’. The gaze appears to be neutral or male throughout until the last scene where the previously perceived neutrality of the gaze becomes violently female. The film is legitimised by its mainstream, foreign director and the clarity of its narrative which is supported by Brando’s superb method acting. Schneider appears in full frontal nude scenes throughout while Brando is never seen nude or even without his pants! Sex is represented in a tasteful ‘naturalistic’ style – there is never any real suggestion that Paul has actually penetrated Jeanne – and no money shots, erections, inserts or penetration are seen. Facial expressions and aural responses represent the male orgasm while the female orgasm, referred to in a masturbatory context, seems otherwise not to be an issue in this film. The ‘film within the film’ enables a context to be established for the representations of sex in the principle narrative and Rosa’s affair acts as a counterpoint to (and oblique excuse for) Paul’s behaviour.

‘Deep Throat’ (1972), while achieving mainstream distribution and considerable populist notoriety, represents sex using conventional hardcore methods. The film begins with a typed statement locating the content in a quasi-psychoanalytical world and humourously clinicising its credibility. The gaze is exclusively male despite the principle ‘serious’ characters and the film’s intent being bogusly female. Sex is represented by inserts which loosely disguise penetration and arousal, and orgasm – male and female – is represented facially and at length. There are repeated loops throughout and narrative scenes are spurious and secondary. Orgasm is represented by fireworks, explosions and rocket launchings which are mirrored in the tongue in cheek text. Famous porn stars of the period litter the cast (Harry Reems, John Byron) giving reference to other, more explicit hardcore films and the central character (Linda Lovelace) plays herself thereby linking her and suitably porn-related character names (Willie Wang) to some kind of reality.