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Last Tango In Paris: Original MGM Motion Picture Soundtrack

Last Tango In Paris: Original MGM Motion Picture Soundtrack

Other Views:
Creator: Gato Barbieri
Label: Rykodisc
Category: Music

Buy New: $54.40
as of 6/4/2012 14:34 EDT details

In Stock


New (7) Used (15) from $19.95

Seller: Motown Machine
Sales Rank: 83,299

Format: Enhanced, Soundtrack
Languages: English (Original Language), French (Original Language)
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5

UPC: 014431072420
EAN: 0014431072420
ASIN: B000007O7A

Release Date: June 9, 1998
Availability: Usually ships in 1-2 business days



Tracks:

  • Last Tango In Paris-Tango
  • Jeanne
  • Girl In Black (Tango (Para Mi Negra)
  • Last Tango In Paris-Ballad
  • Fake Ophelia
  • Picture In The Rain
  • Return-Tango (La Vuelta)
  • It's Over
  • Goodbye (Un Largo Adios)
  • Why Did She Choose You?
  • Last Tango In Paris-Jazz Waltz
  • The Last Tango In Paris Suite
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Editorial Reviews:

Amazon.com
Steeped in controversy upon its release in 1973, director Bernardo Bertolucci's Last Tango in Paris has since been called everything from nonutilitarian pornography to a cinematic masterpiece. Two key elements that Bertolucci utilized to breath life into Tango's nihilistic themes and the dark, obsessive relationship at its core were Marlon Brando's harrowing, largely improvised performance and the erotically charged jazz score of self-taught Latin sax virtuoso Gato Barbieri. While the musician's main theme has become a much-covered jazz standard, it's but a tantalizingly sexy sample of the cross-cultural stylings at work in this masterful score. While Barbieri rerecorded the core of his Tango music in lush, fleshier arrangements for the soundtrack album's initial release, this Ryko edition (nearly twice the length of the original) augments those tracks with a compelling half-hour suite of cues culled directly from the film's scoring sessions. By turns stark and sentimental, erotic and experimental, these previously unreleased cues form a revelatory new "second movement" to Barbieri's hauntingly familiar score. --Jerry McCulley


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