A Deep Dive into “Being Maria”: Revisiting the Shadows of Schneider’s Legacy
When the French Cinémathèque attempted to screen Bernardo Bertolucci’s controversial classic “Last Tango in Paris” last December, the decision sparked an uproar. Women’s rights groups protested vehemently, leading to the cancellation of the event. The film's infamous rape scene—executed without the consent of then-19-year-old actress Maria Schneider—has become a rallying point in the #MeToo movement, shining a light on the insidious practices that pervade a male-dominated film industry.
Reassessing a Troubling Legacy
In the aftermath of the film’s dubious practices, Bertolucci’s remarks stirred further outrage. He claimed that not informing Schneider about the scene's true nature was essential for capturing an authentic response, a perspective that starkly overlooks the long-lasting trauma inflicted on Schneider herself. Throughout the years, her bold advocacy regarding her experience has often been dismissed, overshadowed by the film’s notorious reputation.
This context sets the stage for “Being Maria,” a poignant film directed and co-written by Jessica Palud, that aims to humanize Schneider's tumultuous journey. The film traces Schneider's life from adolescence to adulthood, depicting her evolution from a hopeful actress to a resilient survivor. Drawing from a memoir published by Schneider’s cousin seven years after her passing in 2011, “Being Maria” aims to balance the artist's legacy with the haunting shadows of past exploitation.
A Complex Narrative Structure
Creating a film that captures the intricate dynamics of Schneider’s life is no easy feat. Palud, in her second directorial venture, grapples with the challenge of addressing the psychological aftermath of cinematic exploitation without reducing Schneider’s identity to that single narrative. What emerges is a film rich in emotional depth, skillfully acknowledging the complexity of Schneider’s life beyond her victimization.
A Story of Family, Ambition, and Betrayal
Beginning with teenager Maria, the film explores her burgeoning passion for film, which leads to a strained relationship with her distant father (portrayed by Yvan Attal). As her mother (played by Marie Gillain) expels her from home, Maria embarks on her acting journey. At 19, she remarkably encounters Bertolucci, portrayed by Giuseppe Maggio, who is preparing to cast her in “Last Tango.” Their introduction is rife with tension, as he asks her pointedly, “You’re an actress, aren’t you?” This moment subtly encapsulates a predatory allure, establishing a clear imbalance of power.
The Heart of the Matter: Filming “Last Tango”
As filming progresses, Palud carefully depicts the unsettling dynamic on set. Schneider's relationship with Marlon Brando, portrayed sensitively by Matt Dillon, evolves through a mix of playful vulnerability and unsettling coercion. The filming sequence of “Last Tango” is both its centerpiece and its most harrowing segment. With masterful direction, Palud creates a paradoxical atmosphere—capturing an environment that blends camaraderie with underlying tension. Through this lens, viewers can sense the chilling reality of creativity marred by a complete absence of ethical boundaries.
The Consequences of Manipulation
An emotionally charged performance by Anamaria Vartolomei makes Schneider’s portrayal both poignant and gripping. As the film unfolds, we witness a degrading impact on her mental well-being, marked by a struggle to reclaim her identity amid the trauma of her past. Vartolomei’s performance brilliantly conveys Schneider’s inner turmoil—a cocktail of distraction, despair, and resilience.
However, the film's post-“Tango” timeline falters in some moments, relying on cliches of drug abuse and chaotic lifestyle changes rather than delving deeper into Schneider's unique battle to reconstruct her identity as a bruised star. Here, we see the tension between societal expectations and personal reality unfolding on the screen.
The Intimate Perspective
What sets “Being Maria” apart is Palud’s commitment to filter Schneider’s experiences through a lens of compassion and understanding. This offers a stark contrast to Bertolucci’s exploitative vision. By embracing a narrative that centers on Schneider's perspective, Palud acts as the intimate coordinator Schneider never had, allowing audiences to share in the emotional weight of her story rather than merely observe it.
Key Details of the Film
Title: Being Maria
Rating: Not Rated
Languages: French and English, with subtitles
Running Time: 1 hour, 40 minutes
Release Date: Opens Friday, March 28, at Landmark’s Nuart Theatre in West Los Angeles.
In conclusion, “Being Maria” is more than just a biopic; it’s a cathartic exploration of trauma, identity, and the pursuit of agency in a world often devoid of empathy. Palud’s film challenges audiences to reconsider what it means to be an artist in an industry that frequently prioritizes spectacle over humanity. Through Schneider's story, we are reminded of the critical importance of consent, compassion, and understanding—a lesson that resonates far beyond the silver screen.
For more insightful film reviews and cinematic explorations, check out sources like The Los Angeles Times, which continues to shed light on the evolving narratives in cinema.
