Paul is 100% capable of sending “Sacheen Littlefeather” to the Academy Awards podium. Those of a younger age who became acquainted with Marlon Brando’s work around the time of “The Godfather” or later know him as someone who would either A) do whatever the hell he wanted or B) do sort of what you wanted him to do as long as you obscenely overpaid him. Paul is every bit Marlon 1972, overrun by eccentricities, in physical decline, maddeningly charming, outrageously boorish, fading handsome, part of the system, mocking the system. Or perhaps he was just warming up for Col. Ebert suggests it’s possible Brando “was talking to his own dead body.” This is sort of what Roger Ebert is driving at in his third and last review of “Tango,” written in 2004 for his “Great Movie” series. “Last Tango in Paris” is not Brando playing Paul, but Paul playing Brando. ![]() ![]() His co-star who speaks from beyond the grave ‘Last Tango in Paris’ - Paul talks to his dead wife, but it’s
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