Tango Nude

The plot of Naked Tango is partly based on the story of the real crime syndicate Zvi Migdal , who transported girls from Jewish places in Eastern Europe to Latin America brothels ^{[5] [6]} .

The film begins with frames from the famous tango of Rudolf Valentino from The Four Horsemen of the Apocalypse . On their background are opening captions.

September 1924 The venerable judge Torres ( Ray ), after marrying young Stephanie ( May ) in Paris, returns with her on an ocean liner to her homeland in Argentina. Tired of the jealousy and despotism of her husband, Stephanie, when she sees an opportunity, decides to escape from him and start life anew. Having become an involuntary witness of the suicide of one of the passengers, she appropriates the things and documents of the deceased. From now on, Stephanie impersonates a poor emigrant from Poland, traveling to Buenos Aires as a “penpal bride” to her future husband ( Morales ), whom she had never seen. At first, she perceives everything as an interesting adventure, but upon arrival it turns out that “marrying by mail” is just a scheme for forcing women to prostitution, and the “newlywed” is in a brothel.

She attracts the attention of the mysterious and cruel gangster Cholo ( D'Onofrio ). Between young people a strange relationship develops in which at first there is no place for sex, because the only passion of Cholo is tango. The bandit demands unconditional submission from the girl, but also saves her life when she is in the center of the conflict between the Jewish criminal community and the Italian mafia. Finally, Stephanie manages to escape from the brothel and return to her husband, but the past reminds of itself with the unexpected visit of Cholo. The judge puts the insolent out the door. Unable to forget the “King of Tango," Stephanie secretly from her husband searches for Cholo throughout Buenos Aires. But she herself is being monitored - Zico abducts Stephanie in the hope of getting a ransom from her for a judge.

Everybody dies in the finals: Stephanie, Judge Torres, Zico and Cholo.

Design

The previous joint work of Weissman and Schrader was the 1985 film " Kiss of a Spider Woman " based on the novel of the same name by the Argentinean writer Manuel Puig . The film was directed by Hector Babenko , Weissman produced the tape, and Schrader acted as the author of the script. Filmed in Brazil, this film with a relatively small budget suddenly turned out to be very successful, was nominated by the American Film Academy in four categories, and the lead actor William Hert received an Oscar for best actor. Weisman hoped to repeat the success achieved again.

The idea of ​​making a film about tango was presented to Weisman by Manuel Puig when he turned to an Argentine writer in 1983 to acquire the rights to film adaptation of his novel. In a conversation with the producer, Puig noticed that tango will probably soon become fashionable again. He was right. In 1985, the French dance and music show Tango Argentino was transferred to Broadway and its success led to the emergence of tango clubs one after another in the States. And in 1986, Puig wrote a two-act musical play “Memories of Gardel” ( port. Gardel, uma lembrança ) , which takes place in a public house in Buenos Aires in the 1920s. In it, seven Jewish prostitutes act as corps de ballet ^{[K 5]} . When Puig showed his unpublished play to Weisman and Schreider, the latter was interested in the fact that for some reason prostitutes were Jewish. Starting to question Puig, he learned the story of Zvi Migdal, or the Warsaw Jewish Mutual Assistance Society, as it was originally called. Then Schrader finally came up with the idea of ​​a script for a film about tango, the action of which will unfold in a Jewish brothel.

Conflict with Puenzo

In 1986, the movie " Official Version " of the Argentinean Luis Puenso was nominated for an Oscar (and received it), and the director was in Los Angeles for this reason. Weissman and Schreider contacted him, set out the idea and offered to become the director of the future film. Puenso agreed and coined the name Naked Tango . In the meantime, Weisman went headlong into preparation for the production of Babenko’s next film “The Thistle ” ^{[K 6]} , and Schreider sat down to write the script. The script was ready in 1987 and handed over to Puenso in October when Weisman and Schrader were in Buenos Aires. However, during this time, Jane Fonda persuaded Puenso to start shooting another film - "Old Gringo", and the director was busy. In addition, he did not really like the final version of the script. Therefore, he proposed to postpone the filming of Naked Tango until he finished working on Old Gringo, and for Schreder to fix the script in accordance with his wishes. Weissman was unhappy with the delay, and Schrader was able to convince him that he could cope with directing without any help. After a serious disagreement with Schrader and Weisman, Puenso left the project. In the finished film, from his contribution, in essence, only the name remained. In the credits of the film, the name Puenso does not appear at all. He filed a lawsuit against Weissman, but a Los Angeles court decided the case in favor of the producer ^{[7] [8]} .

Shooting Preparation

A significant part of the Naked Tango crew was made up of people working on Kiss of the Spider Woman . The co-producer of the tape was the famous costume designer Milena Canonero . She took control and coordination of the work of the part of the group responsible for the external appearance of the film - production designer, costume designer, hairstyle designer, dresser, make-up artist, decorator, etc. Kanonero invited Weisman to take the Englishman into the project as a production designer.

Casting

During the stay of Weissman and Schrader in South America, where they collected material for the future film, Manuel Puig introduced them to his friend, the Spanish actor Fernando Rey , who at that time was in Brazil on the set of “The Moon over the Parador ”. After reviewing the script, Ray gave his consent to participate in the future picture in the role of the elderly husband of the main character.

The role of Cholo was originally written for William Hurt ^{[2] [3] [9]} . However, Hurt just got involved in a lawsuit against his common-law wife Sandra Jennings and his participation in the filming in another country was problematic ^{[K 7]} . The search for a replacement took more than eight months. Val Kilmer ^[10] and Esay Morales ^{[2] [3]} auditioned for the role, eventually playing in the Zico film, until finally Hert's impresario Gene Parsegian proposed to take Vincent D'Onofrio for this role, even though that the actor was not his client ^[11] . D'Onofrio, who had never before danced tango, immediately began rehearsing with the film's choreographer Carlos Rivarola ^[12] . According to D'Onofrio, in addition to dancing skills, he borrowed from Rivarola some habits of his hero.

Another two months took the search for the main character. At one time, this role was claimed by the Spaniard of Assumpta Serna ^[13] , who was offered to Weisman by cameraman Juan Ruiz Anchia . Like D'Onofrio, she did not know how to dance tango, but she undertook to learn. However, in the end, the role was given to the Frenchwoman Matilda May . May at this time auditioned for the main female role in the film " Revenge ". Although the trials were unsuccessful for her ( Kevin Costner’s partner in the Tony Scott film as a result became Madeline Stowe ), the pictures fell into the eyes of Weisman and Schrader, and they decided that the young French actress was just what they needed ^[14] . When it turned out that May had a choreographic school completed with honors, and she also speaks excellent English, the choice was finally made ^[2] .

In a number of episodic roles and supporting roles, Schrader occupied the technical staff of the film crew. The film's production designer simultaneously starred in the role of ship captain, and tango history specialist Dodi Scheuer, credited as a consultant for Argentina, as an immigration officer. English-born Australian hairstyle designer Kerry Warne (personal stylist Nicole Kidman , also known for creating hairstyles in the style of the 1920s for Baz Lurman ’s film “The Great Gatsby ”) played a salesperson trying on the protagonist’s wig, and costume designer ( in the same function, he participated in the creation of “Kiss of a Spider Woman”) a small but noticeable role was played by a gay hairdresser Gaston. Bissot is not only a fashion designer, but also a comedian quite famous in Brazil. Ines Yukhnowski, who played one of the prostitutes, Bebe, is also credited as a member of the production group, and one of the associated producers, Tony Payne, played the role of a waiter on the ship.

On the advice of Madame Borenstein’s brothel’s mother, Weisman, on the advice of the Argentinean members of the group, took the famous Argentine actress , who was familiar to Russian theater-goers in her 1990 joint tour with Jorge Donne in Moscow. appears in the film in the episodic role of the Chief of Police, and the wife of Sam's brother David Weissman, Constance McKashin , plays a small role as a prostitute Flora. A couple of Italian mafiosi starred Roger Corman veteran Marcos Wojnski and famous Argentine actor, director and theater teacher . The role of the jeweler Bertoni was played by the son of Zero Mostel .

Schreider also hoped to star Chilean writer Jose Donoso in one of the episodic roles, whom he was familiar with from a writing workshop at the University of Iowa , but he was unable to come to Buenos Aires to film ^[15] .

Financing

The final budget of the painting was about $ 10 million and exceeded the original estimate by 16 percent. About half of the cost of creating the film was incurred by the Japanese company Toho-Towa . Schreider played a significant role in attracting the Japanese to finance. He lived in Japan for a long time and had connections in the Japanese film industry (Schrader wrote his scripts in both English and Japanese). The remaining expenses were covered in equal shares by several investors from the USA, Argentina and Switzerland. Sugarloaf and have already co-financed Spider Woman's Kiss. Weissman and Holzer were familiar from Andy Warhol 's “ Factory ”, where Jane was one of the “ Warhol superstars ”, and Weissman began his career. Jane Holzer appears in the credits as one of the executive producers on the American side. Another became a California lawyer, Henry Holmes. From the Argentine side, the film was financed by a former politician, and subsequently by the big businessman and the son of another famous Argentine politician , musician Fernando Gelbard. Part of the funds was allocated by the Swiss studio . As representatives of the Swiss, negotiations with Weissmann were conducted by Martin Hellstern and Roger Chavinsky ^[1] .

Filming

Although Naked Tango was the first feature film directed by Schrader on his own as a director, he already had some directing experience working on a documentary in the Mondo documentary The Killing of America , which, incidentally, took place on the set his acquaintance with producer David Weisman. In addition, at the end of the work on Kiss of the Spider Woman, Hector Babenko became seriously ill, and the final editing of the tape had to be carried out by Schrader ^[16] .

Filming took place mainly in Buenos Aires and Montevideo ^[17] , in just 37 different places. In Buenos Aires, among other things, they shot in the studios of Baires , in the San Telmo quarter, in the confectioneries Molina and La Ideal , on Corrientes Avenue and Esmeralda Street, in the premises of the Plumbing Palace, as well as in the streets of the port district of La Boca ^{[7 ]} . The scene on the deck of the liner was filmed in California aboard the Queen Mary ^{[2] [18]} . The film also shows interiors in the suburbs of Buenos Aires, the Palacio de Sans Souci ^{[K 8]} palace and the former casino, now the El Tigre Club museum ^[19] .

Just at that time, in Argentina, at the height of the economic crisis, the presidential election took place, in which Carlos Menem and the Peronist party took power. For the first time since 1916 in the history of the country, power peacefully passed to the opposition. Political and economic instability complicated and made shooting more expensive. The main filming location, the basement cabaret of the early XX century, playing the role of a brothel in the film, was in disrepair and had to be urgently repaired. Winter in the Southern Hemisphere was rainy, which also made shooting difficult. Heavy rain met the crew on the first day of their work in Buenos Aires on June 21, 1989, when the shooting was supposed to take place in kind ^{[2] [7]} . In addition, many members of the crew caught a cold, and some received food poisoning. As a result, instead of the planned 84 shootings, 101 days lasted. The need for bribes to local officials led to budget overruns. There were completely anecdotal cases. For example, to shoot a jeweler’s funeral scene, a luxurious coffin decorated with silver and ebony was rented from a local funeral home. In the midst of filming, representatives of the funeral home appeared on the site and demanded that they return the coffin. It turned out that , the Minister of Economy in the Government of Menem, died suddenly, and this coffin is the best that the funeral home has at its disposal and is urgently needed to arrange the minister’s funeral in the highest rank ^[19] .

Но причиной перерасхода средств были не только алчность аргентинских чиновников и неблагоприятные обстоятельства. Так, незаконно уволенный в результате каприза Вайсмана шофер продолжал получать зарплату до окончания действия договора, хотя пришлось нанять ему замену, а счет за частные телефонные переговоры Матильды Мэй с Парижем составил около миллиона аустралей (тогдашняя аргентинская валюта). Кроме того, Вайсман игнорировал советы аргентинских членов съемочной группы, предостерегавших его от опрометчивых в финансовом отношении шагов в условиях царившей тогда в стране гиперинфляции ^[19] . Вайсман попытался договориться с исполнительным продюсером « Горца-2 », съемки которого должны были вскоре начаться в Буэнос-Айресе, об уступке ему части съемочного оборудования с тем, чтобы сэкономить на пошлинах и транспортных расходах, но сделка не состоялась ^[20] .

По некоторым данным, премьера фильма состоялась на в сентябре 1990 года ^[21] , однако упоминание о фильме отсутствует в онлайн-архиве фестиваля ^[22] и публикациях, посвященных его истории ^{[23] [24]} . «Обнаженное танго» также демонстрировалось на фестивале «Сандэнс» в январе 1991 года ^{[25] [К 9]} и на открытии Фестиваля латиноамериканских фильмов в Нью-Йорке 16 августа того же года, за неделю до выхода в прокат ^[26] . Уже после начала проката фильма в США лента была показана на 17-м Фестивале американского кино во французском Довиле . В то время этот фестиваль не присуждал официальных призов, однако фильм Шрейдера участвовал в номинации на неофициальную награду фестиваля в числе одиннадцати прочих лент, но остался ни с чем. Вайсман попытался предложить картину на Каннский кинофестиваль , но получил категорический отказ директора фестиваля ^[1] . В ноябре 1991, после снятия с проката «Обнаженное танго» было показано на кинофестивале в Форт-Лодердейле во Флориде ^[27] .

Показ «Обнаженного танго» в кинотеатрах Западной Германии начался 27 сентября 1990 года, за несколько дней до объединения с ГДР. Прокат осуществляла мюнхенская Scotia Filmverleih . В Японии и Южной Корее дистрибуцией занималась участвовавшая и в производстве картины Toho-Towa , в Италии — Life International , в Великобритании — Blue Dolphin Films . Фильм долго не мог найти дистрибьюторов в США, наконец, его прокатом занялась New Line Cinema . Прокат открылся 23 августа 1991 года показом в нью-йоркском кинотеатре Cinema II на углу 3-й авеню и 60-й улицы. В сентябре началась демонстрация «Обнаженного танго» в импозантном Village East Cinemas в Нижнем Манхэттене, построенном в 1926 как Идишский театр Мориса Шварца ^[28] . Показ фильма в США ограничился только этими двумя кинотеатрами. Сборы за первый уикэнд составили чуть более 12 тыс. долларов, всего фильм собрал лишь 83 тыс. долларов ^{[3] [К 2]} . В Италии лента в сентябре 1991 года шла в римском кинотеатре Majestic и миланском Mignon под названием Tango nudo ^[29] . Швейцарский продюсер , принимавший участие в производстве картины, в своей автобиографии прямо называет «Обнаженное танго» катастрофой ^[1] . Чуть лучшие результаты фильм имел в Аргентине, где шёл под названием Tango desnudo , и Европе, в частности, в Германии ( Nackter Tango ). Статья в журнале « Шпигель » связывала этот относительный успех со всплеском интереса к женскому мазохизму в германском обществе ^[30] . По данным Курубето, единственной страной, где можно говорить об относительно неплохих результатах проката, стала Норвегия ^[31] .

Фильм был снят с проката в США в октябре 1991 года. После этого в Штатах его ещё можно было увидеть на нескольких второстепенных кинофестивалях. Позднее случались отдельные показы, например, в Майами в октябре 1993 ^{[К 10]} и в Таллахасси в июле 2006 года ^[3] . Время от времени организуются показы фильма в студенческих кампусах ^{[К 11]} , клубах киноманов и любителей танго ^{[3] [32]} , кинолекториях ^{[К 12]} . В Европе фильм иногда демонстрируется по телевидению ^{[1] [К 4]} .

Видеокассета с фильмом вышла в Германии 14 января 1991 года, ещё до американской премьеры на фестивале «Сандэнс». В начале 1992 появилась британская видеокассета, выпущенная . В Канаде Cineglobe и монреальская C/FP Video выпустили две кассеты — на английском и французском языках (последняя — под названием Tango Passion с альтернативным финалом). Имеются также итальянское ( Tango nudo ) и российское (Екатеринбург Арт, 1996) издания «Обнаженного танго» на VHS . Кроме того, существуют японское ( Towa Video , 92 мин., 1991) и тайваньское ( Taiwan Lasersoft Corp. , 91 мин.) издания на LaserDisc . В 2009 году немецкая выпустила фильм на DVD (85 мин. 30 сек., на диске также записаны трейлер фильма и сценические фото ^[33] , содержит только немецкую звуковую дорожку ^[34] ).

Различия версий

После негативной реакции на фильм у аудитории на тестовых показах отснятый материал неоднократно перемонтировался ^[1] . В результате, американская и европейская версии картины различаются финалом. Американская концовка короче и реалистичнее, а европейская носит символический характер и отличается большей драматичностью. Последний кадр американского финала — трупы Чоло и Альбы на залитом красным светом танцевальном паркете. Европейский вариант концовки — Чоло, вздымающий вверх на вытянутых руках окровавленный труп Альбы (этот кадр присутствует на немецком плакате к фильму). Версия на выпущенной в России видеокассете следует американскому финалу ^{[К 13]} .

Версия на изданном в Германии DVD имеет европейскую концовку, но содержит и некоторые отличия от, например, британской версии. Часть сцен расширена, другие, наоборот, сокращены. Добавлены сцены танго на крыше и инсценирования судьей в своем особняке обстановки лайнера в попытке вернуть Стефани память после мнимой амнезии. Зато целиком отсутствует сцена в магазине с выбором парика. Также весьма существенны отличия в немецком дубляже: в нескольких местах добавлен закадровый голос Стефани, комментирующий происходящее, как бы продолжая записи в дневнике Альбы, а все упоминания евреев и еврейских реалий сведены к минимуму.

Criticism

Хотя сообщения в прессе во время съемок выглядели многообещающе ^{[2] [9] [18]} , сразу после выхода фильм получил резко негативную оценку критиков ^{[17] [35] [52] [53]} . Со временем стали появляться и положительные рецензии ^{[3] [33] [54]} .

Кэтрин Данфи из « Торонто стар » отмечает позерский характер фильма и сожалеет об испорченном исходном материале, из которого при других обстоятельствах мог бы получиться хороший фильм ^{[Ц 1]} . Последнюю мысль разделяет и Винсент Кэнби , который в своем отзыве в « Нью-Йорк таймс » низко оценивает способности Шрейдера как режиссёра и пишет о нераскрытом потенциале фильма ^{[Ц 2]} . Рецензия Питера Трэверса в « Роллинг стоун » сравнивает глубину сценария с туристским путеводителем, а сам фильм называет претенциозным вариантом « Грязных танцев » ^{[Ц 3]} . Экспертов Католической кинематографической комиссии из немецкого не устраивают прямолинейность трактовки танго как символа любви и смерти, банальность диалогов и плохая игра актёров ^{[Ц 4]} . Статья Джонатана Ромни в « Сайт энд саунд » крайне негативно оценивает многие аспекты фильма, включая неудачную, на его взгляд, попытку стилизации под фильмы 20-х годов и неубедительную игру Д'Онофрио и Мэй, а в конце даже обвиняет фильм в антисемитизме. Хотя Ромни не отрицает стремления режиссёра психологически раскрыть характеры главных героев, результат этой попытки признается им неудовлетворительным, в том числе, из-за чрезмерного педалирования визуальной составляющей ^{[Ц 5]} . Он также отмечает множество анахронизмов и исторических неточностей, а танцевальные сцены считает не заслуживающими внимания любителей танцев ^[52] . Интересно, что спустя 15 лет после Ромни профессиональная танцовщица и искусствовед Валори Харт, также отметив в своем обзоре небрежность создателей фильма в обращении с историческими реалиями и скудость показанных танцевальных элементов, не сочтет это серьёзными недостатками, а сам фильм уверенно отнесет к культовым ^[3] . А спустя ещё семь лет румынскую сценаристку Лоредану Гидарча в её, в целом благожелательной рецензии, уже наоборот, не устроят излишний для фильма-притчи, каким, по её мнению, является «Обнаженное танго», реализм и внимание к историческим деталям ^[54] . Ряд позднейших критиков вслед за Ромни отмечают и подчеркнутую пышность декораций Энтони Пратта, но приходят при этом к кардинально противоположным выводам — с их точки зрения, превосходный видеоряд не усугубляет, а наоборот, полностью искупает недочеты сценария ^{[Ц 6]} . Итальянский критик Серджо Арекко в своей статье в « Фильмкритике » пространно рассуждает о символизме и мифологии танго в произведениях раннего Борхеса , его творческой философии (а также Пуига и отчасти Фасбиндера ) и их влиянии на фильм Шрейдера ^[55] . Влияние поздних фильмов Фасбиндера, а также Дарио Ардженто усматривает и его немецкий коллега , дающий «Обнаженному танго» исключительно высокую оценку ^{[Ц 7]} .

Актёрская игра

Наиболее противоречивые оценки критиков вызвало исполнение роли Чоло Винсентом Д'Онофрио. Многие рецензенты считают его игру неубедительной ^[47] и невыразительной ^[56] , а сам его выбор на эту роль — режиссёрской ошибкой ^[46] . Тем не менее, некоторые сочли игру актёра превосходной ^[3] . Несколько лучше киноведы отзываются об игре Матильды Мэй ^[57] . Иной раз в их оценках в отношении её даже сквозит некоторое удивление: «неожиданно трогательна» ( англ. astonishingly, is touching ) ^[56] . Впрочем, зачастую восхищение критиков ограничивается внешними данными актрисы ^{[3] [36] [37]} . С другой стороны, исполнители ролей второго плана получили положительные оценки. В отзывах особо отмечают игру Фернандо Рея ^{[3] [56] [57]} , Эсая Моралеса и Сипе Линковски ^{[3] [56]} . Некоторые критики также удостаивают благосклонным вниманием Патрисио Биссо и Джоша Мостела ^[3] .

Культурологический контекст

Кроме собственно искусствоведческой критики фильма, за время, прошедшее с его создания, появились работы, рассматривающие «Обнаженное танго» на более широком культурологическом фоне. Так, профессор в своей книге ^[58] проводит его весьма подробный анализ в контексте изображения кинематографом так называемого « белого рабства » начала XX века (речь идет о принудительной проституции, и более конкретно, о деятельности преступного синдиката « Цви Мигдаль ») и сравнивает с фильмами схожей тематики, в то время как интерес к «Обнаженному танго» профессора Эми Камински связан с отражением стереотипного образа Аргентины в массовом сознании и мировом искусстве ^[59] . С другой стороны, Марта Савильяно в своей статье ^[60] , посвященной изображению танго в кино, подробно разбирая фильмы « Танго » Карлоса Сауры и « Урок танго » Салли Поттер , ограничивается лишь кратким упоминанием «Обнаженного танго» в сноске, как более ранней и неудачной попытки исследования той же темы.

Хотя и без подробного рассмотрения, лента также неоднократно упоминается рядом с другими фильмами в работах, посвященных, среди прочего, таким темам как Буэнос-Айрес ^[61] (часто вместе с англо-аргентинским фильмом « Квартира ноль », в котором некоторые критики, помимо общего места действия и актрисы Сипе Линковски, занятой в обеих картинах ^{[К 14]} , находят и другие параллели с «Обнаженным танго» ^{[К 4]} ), аргентинский кинематограф ^[62] , танго ^{[К 15]} , садомазохизм в кино ^{[К 16]} , изображение жизни евреев Латинской Америки в искусстве ^{[К 17]} .

With the filing of conservative American critic and right-wing political commentator , who repeatedly mentioned “Naked Tango” in his books, articles, and public appearances ^[63] , the film has become, in certain circles, a symbol and often cited example of immoral Hollywood movie production ^{[K 18 ]} . However, the accusation of the film advanced by the Medved, mentioned in the previous section by J. Romney and taken up by Medved, remains single ^{[K 19]} . Even like-minded people of Medved see in “Naked Tango” not a mockery of Judaism, but, first of all, aesthetization and glorification of violence, propaganda of marital infidelity and pandering to the spoiled tastes of European and international audiences as opposed to the pious and virtuous views of ordinary Americans ^[64] . Mainstream film critics, recognizing anti-Semitism as one of the Naked Tango themes, do not at all consider the film itself as anti-Semitic ^[62] .

Literary reminiscences

Yuri Karpenkov, one of the followers of the marginal sociological theory of ontosynthesis, developed by Vyacheslav Dudchenko , somewhat unexpectedly refers to the story “Naked Tango” in one of his articles to illustrate the ideas of his teacher and even quotes his own poem, inspired by watching the film ^{[65 ]} .

In the poem collection of the Chilean poet Jesus Sepulveda Hotel Marconi there is a poem Tango desnudo , inspired by the plot of “Naked Tango” ^[66] .

Argentine poet Rolando Revaliatti created a series of poems about films. One of the poems of the cycle, Tango desnudo , is dedicated to the tape of Schrader. ^[67] .

In one of Tesni Morgan’s books ^{[K 20], the} similarity of the interior of the mansion with the magnificent scenery of the Nude Tango brothel pushes the heroine to acquire it ^[68] .

Thematic and typological similarities

Critics view Naked Tango from different angles and, accordingly, embed the film in various associative ranks. Below are some of the films mentioned next to Naked Tango.

Sadomasochism as a judo technique (a woman first succumbs to then prevail)

“ Empire of Senses ”, “ Night Porter ” by Liliana Cavani , “ Last Tango in Paris ” by Bernardo Bertolucci ^[69] .

Erotica as an artistic technique that helps to reveal the absurdity of the idea of ​​power, strength, domination

The Bitter Moon by Polanski , The Dangerous Side by ^[70] .

Cruel metaphor for the loss of innocence

“The Bitter Moon”, “ Blue Velvet ” by David Lynch , “ At the Bottom ” by Jerzy Skolimowski ^[70] .

Crazy-eccentric relationship against the backdrop of Buenos Aires

“ Do Not Look Down ,” “ Apartment Zero ” ^{[62] [K 4]} .

Tango as a protagonist

“ Tango ” by Carlos Saura , “ Tango Lesson ” by Sally Potter ^[60] .

Tango as a symbol of love and death

“Tango” by Saura, “Last Tango in Paris” ^[33] .

Primitive story dance melodrama

“ Saturday Night Fever ”, “ Dirty Dancing ” ^[35] .

Best of Worst, Outstanding Thrash

“ Shougols ” Verhoeven , “ Plan 9 from outer space ” ^[31] , films by Russ Meyer and Sam Pekinpa , “ Hairspray ” by J. Waters ^[3] .

An unsuccessful attempt at an erotic film for the mass audience, sexual thrash

" Wild Orchid ", " Zandali " ^[38] , " Nine and a half weeks " ^[37] .

Evil caricature of the Jews

The " Eternal Jew " and " Jewish Suess " Harlan ^{[71] [72]} .

Phantom and oppressive atmosphere, violence, obsessive colors

Films by Argento and late Fasbinder ^{[33] [55]} , in particular, Suspiria and Kerel .

Strong, controversial films

“The Last Tango in Paris”, “Night Porter”, “Blue Velvet”, “Kerel” ^[2] .

Without specifying the exact nature of the association

“ Daytime Beauty ”, “The Last Tango in Paris”, “Saturday Night Fever” ^[73] .

Sergio Arecco stands somewhat apart, linking “Naked Tango” not with other films, but with literary works of early Borges , in particular, with his poem “Tango” and the story “The Man from the Pink Cafe” ^[55] .

The film features the classic melodies of tango Kumparsita , Jirón Porteño (Oro Muerto) , Región campera , Cuando llora la milonga , Guapeando , Cordon de oro , Arrabal Amargo and Sognando .

The original music for the film was written by the representative of the famous Hollywood composing dynasty Thomas Newman ^{[K 21]} . Despite the fact that the tape as a whole received devastating reviews, critics praised the work of the composer. Thus, the New York Times columnist Vincent Canby found that the film is bad, with the exception of Newman’s music ^[17] . And Samir Hashem, in his review of The Hollywood Reporter , especially notes the musical fragments that he liked ^{[Ts 8]} .

Genre

Most critics define Naked Tango as an erotic melodrama or an erotic thriller, although in the latter case it is often specified that for a real thriller the film lacks the dynamics and sharpness of the plot ^[48] .

Sometimes there is a clarification “dance melodrama”. The German “Dictionary of Cinematic Terms” even distinguishes films about tango as a special subgenre ( German: Tangofilm ) ^[74] . Argentine cinema knows many similar tapes ( Spanish ópera tanguera ) .

The epithet "erotic" also requires some explanation. A number of reviews specify that the undeniably high degree of eroticism in the film is achieved not by bed scenes (of which there are very few, and they were shot very chastely), but, first of all, by dance numbers ^{[2] [52]} . This does not prevent some reviewers from calling “Naked Tango” a semi-melodrama, semi-pornography ^[36] .

Style

The film deliberately exploits the aesthetics of German film expressionism of the 1920s ^{[3] [17]} . Schrader himself calls the works of Murnau and Mizoguchi ^[2] as the models that he focused ^on . Cinema experts and other members of the crew also mention the names of Fritz Lang , Pabst and von Sternberg ^{[2] [19]} . J. Romney separately notes the influence of the visual style of the films of Erich von Stroheim ^[52] . The director actively uses the whole arsenal of expressionist artistic techniques: close-ups, gazes, sharp, deep shadows, shooting from an acute angle , shooting through glass and reflection in the mirror, swirling fog and cigarette smoke, gloomy, tense atmosphere, slow motion. The German expressionist kammerspiel became the ancestor of two directions in Hollywood at once: noir films and classic horror films of the Universal studio . Some critics ^{[3] [54]} use the terms “noir” or “ neo- noir” that are less accurate in this case, but are more familiar to the American cinema audience to characterize the Naked Tango style.

To recreate the mood of a black-and-white expressionist film in a color film, Schrader and cameraman Juan Ruiz Anchia resort to using hard primary colors - red, blue and black. The unusual color scheme is so striking that almost all reviews note this detail ^{[14] [33] [34] [37] [43] [54] [55] [57]} .

Cultural Allusions

Almost all critics ^{[3] [52] [55] [75]} see in Nude Tango films of the 1920s, primarily films with Rudolf Valentino in the title role. In addition to the famous tango scene at the very beginning, during the film, viewers are shown magazines with a portrait of Valentino on the cover, then billboards for “ Blood and Sand ” on the streets of Buenos Aires. Often noted is the similarity of the main character with the image of Lulu from Pandora's Box Pabst performed by Louise Brooks ^{[3] [52] [55] [75]} .

Sergio Arecco and Loredan Gidarch generally consider the quote from the “ Four Horsemen of the Apocalypse ” in the opening credits to be the key to understanding “Naked Tango” ^{[54] [55]} . From Arecco’s point of view, the director intentionally uses the whole set of cultural cliches related to tango to achieve the maximum dramatic effect ^[55] . A similar opinion is shared by Valori Hart, according to whom in the film “all cliches are presented, except for the rose in the teeth” ( Eng. Every cliché, except the rose in the teeth is represented ) ^[3] .

And Domenica Flor considers such a key a small role of the hairdresser Gaston ^[76] . According to her, no one in the film is who he claims to be. All characters, with the exception of the hairdresser, play a certain image. Rich Stefani pretends to be Alba, a poor Polish immigrant. Madame Borenstein, a loving Jewish mother and perfect mother-in-law, turns out to be the mistress of a brothel, putting things in order with an iron hand. Her son Zico portrays a gentle groom and a caring husband who suddenly turns into a ruthless pimp. Each step of Cholo is only a pose, a dancing figure. Until the very final scene, he did not reveal his true feelings for Alba. Judge Torres cares more than anything about his own reputation, how he looks in the eyes of others. The jeweler Bertoni allegedly sells the “newlyweds” ring, knowing well in advance that sex with the “bride” will be the payment for him, for which he will be the first client. The rabbi is actually one of the bosses of the Jewish mafia. The prostitute Bebe was a virgin 28 times, and her commodity Flora admits that she is sore in the throat from mock moans. Only a gay hairdresser is free to play stereotyped male and female roles. It is from his lips that we hear the truth about Cholo and the brothel, and it is he who, at a critical moment, reports the appearance of the police. But he himself creates false images of Alba and other prostitutes, changing their hairstyles. Only Gaston is a puppeteer, all the rest are puppets, masks.

Domenica Flor notices another interesting detail that has escaped the attention of other critics, or that did not seem important to them. Glass is present in all key scenes, and the viewer's attention is specially drawn on it. Nude Alba is dancing with Cholo Tango on a stained glass window. Cholo gives a monologue in front of Alba about sex, and their figures are reflected in many mirrors. Stephanie throws a bottle of champagne overboard before taking Alba's place. In the scene of the struggle between Cholo and Alba in the bedroom, Zico Cholo imprints the girl in the window cover, breaking the glass. Alba throws a bottle at Cholo when she realizes that she is accused of murdering a jeweler. Cholo takes possession of Alba in a car seat dotted with fragments of a broken windshield. Twice in the film, the sound of a broken glass of a kerosene lamp is heard. Cholo throws a lamp in the kitchen, distracting the Italian mafioso and saving Alba's life. And Alba herself, throwing a lamp, sets a fire in the hotel to get an opportunity to escape from the brothel and return to her husband. Finally, in the finale, Cholo extinguishes electric lighting with shots from a revolver.

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