A forthcoming limited series about the making of Bernardo Bertolucci‘s Last Tango in Paris is in the works from CBS Studios and Greg Silverman’s Stampede Ventures. Variety‘s Naman Ramachandran reports that the series, written by Jeremy Miller and Daniel Cohn, will span the 18 months before, during and after the production of Tango, and will be told through the lens of those at the center of the events — stars Maria Schneider, Marlon Brando and Bertolucci.”

Ramachandran gets it dead wrong, however, by stating that Bertolucci “admitted” that the film’s infamous anal rape scene film “was not consensual” as far as Schneider was concerned. I repeat — DEAD WRONG. Bertolucci never said that the scene itself (which was scripted) was non-consensual — the only surprise or non-consensual aspect was the use of butter as a lubricant.

In a 12.3.16 Variety piece by Seth Kelley, Bertolucci said that “I had been, in a way, horrible to Maria because I didn’t tell her what was going on” — i.e., by not telling her about the butter. And yet, the late director added, he didn’t regret shooting the scene. “I didn’t want Maria to act her humiliation, her rage. I wanted Maria to feel, not to act, the rage and humiliation. Then she hated me for her whole life.”

Two days after the Kelley interview, on 12.5.16, Bertolucci clarified to Variety‘s Nick Vivarelli:

“I would like, for the last time, to clear up a ridiculous misunderstanding that continues to generate press reports about Last Tango in Paris around the world,” Bertolucci stated. “[Three] years ago at the Cinematheque Francaise someone asked me for details on the famous butter scene. I specified, but perhaps I was not clear, that I decided with Marlon Brando not to inform Maria that we would [use] butter. We wanted her spontaneous reaction to that improper use [of the butter]. That is where the misunderstanding lies.

“Somebody thought, and thinks, that Maria had not been informed about the violence on her. That is false!”

Bertolucci explained that “Maria knew everything because she had read the script, where it was all described. The only novelty was the idea of the butter.”

The sexual penetration of Schneider by Brando was simulated, of course.

Hollywood Elsewhere is perfectly satisfied with a 2011 MGM Bluray of John Ford’s The Horse Soldiers — good color, exceptional detail, 1.66:1 aspect ratio — so I’m not sharing any particular excitement over Kino Lorber’s forthcoming 4K version, which will emerge early next year.

Ford scholar Joseph McBride, who recently recorded a commentary track for the KL disc, has posted the following on Facebook:

“This Civil War film is an example of what a great director can and can’t do with a weak script. The film has sublime imagery by Ford and cinematographer William H. Clothier and many moving vignettes but is burdened with plot contrivances and other story and production problems. “

[HE interjection: The film is not burdened with a “weak script” — it’s fine. Punctuated by several memorable sequences (futile Confederate attack on Newton Station, Union soldiers retreating when attacked by boys from a local military school) and fortified with fine performances top to bottom.]

“Ford was devastated at the end of location shooting and lost much of his already tenuous interest in the film when a beloved member of his Stock Company, stuntman Fred Kennedy, died doing what should have been a routine horse fall.

“I interviewed people involved in the filming, including a witness to that event, while researching my biography SEARCHING FOR JOHN FORD and did additional research for this commentary on one of the director’s somber late works, an especially grim look at that war. It’s always a privilege to be asked by Kino Lorber to comment on films by my favorite director.”

HE commentary:

Hollywood Elsewhere joins the mourners of legendary Australian (Aboriginal) actor and dancer David Guilpil, who has passed from lung cancer at age 68.

A symbol of indigenous pride and a man of great meditative silence, Guilpil’s best-known or most striking performances were captured in Nicolas Roeg’s Walkabout, Peter Weir’s The Last Wave, Crocodile Dundee (original + sequel), Philip Noyce’s Rabbit Proof Fence and Ten Canoes (‘06).

Noyce: “For tens of millions the world over, David was the living embodiment of Australia’s 100,000 year First Nation culture. He taught us all so much.”

Jeremy Wein attended Sunday’s SAG screening of Steven Spielberg‘s West Side Story, and has tweeted that Rita Moreno, who plays “Valentina,” the widow of “Doc”, the elderly drugstore owner played by Ned Glass in the ’61 version, is “the heart of the whole thing.”

Dan Gaertner conveys a similar report:

World of Reel ‘s Jordan Ruimy passes this along:

Good for Moreno, but this seems a bit curious. A supporting character with a big emotional scene in the latter half overwhelms the contributions of the leads (Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez)?

Similar reaction to 1961 version: “Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno and George Chakiris were good enough, but Ned Glass knocked it out of the park.”

I’m appalled at the idea of any self-respecting dude running around town in a chiffon-green overcoat. It takes all sorts to make a world, but c’mon.

Sorry, Air Mail headline-writer, but I don’t agree.

At best, Peter Jackson’s 468-minute Get Back doc is occasionally “beautiful” and “poignant”; more often it’s intriguing (look…Linda Eastman is actually chatting with Yoko Ono!), a comfortable hang, subtly confrontational, diverting, undeniably historic, necessarily repetitive, sloggy, friendly, amusing, a tad boring, etc.

And don’t tell me what I need or don’t need to feel while watching it. I can figure that stuff out on my own, thanks.

In a 11.27 Air Mail essay, designer Tom Ford laments the blend of soap opera and SNL-ish satire that, in his opinion, dominates Ridley Scott’s House of Gucci. HE to Ford: You were there so your voice radiates authority, but (a) movies be movies (b) the paying audience I saw it with ate that shit up, especially the flamboyant performances of Lady Gaga and Jared Leto.

Before the Sundance Film Festival woked itself to death, it was the indie pathfinder and trailblazer — the greatest-ever springboard for American indie cinema. And in my 24 diligent years of covering that January celebration (’95 to ’18), one of the most exciting Sundance premieres was Karyn Kusama‘s Girlfight on 1.22.00.

A great boxing flick, a first-rate relationship drama and the film that launched Michelle Rodriguez, it won the festival’s Grand Jury Prize and the Best Directing Award in dramatic competition. Produced for $1 million, Girlfight‘s distrib rights were bought by Screen Gems for $3 million.

I saw a proud and tough feminist film, and one that could really connect with Latinas and women of color along with indie film fans.

Girlfight opened eight months later (9.29.00) and promptly flopped. Latinas and women of color stayed away in droves. After a five-week run it had tallied a total domestic haul of $1,565,852 plus a lousy $100,176 overseas. I’ve never understood why this happened. I’ll bet that a fair percentage of HE readers never even saw it.