r" look. We can tell that the two men are involved in actions that are questionable through the mysterious light that envelopes them. The same eerie dark blue light appears in many locations of the film, particularly around the train station. This certain quality of light sets the stage for later events. We as viewers, subconsciously or consciously, through the character of light, know that the ending of the film will be dramatic. Ironically, the light during the last scene in the woods is shot in a natural tone that would appear there. It is slightly gray, but definitely not as gelled as in the earlier scenes. This quality of light that exists throughout the film enhances the colors of incandescent lighting whether on streets or from building windows. As a result, the style of lighting has a murky quality to it that creates a painterly effect. In reality we do not normally see a streetscape "painted" in this manner. A different type of light, a gray golden light, existed throughout the film Last Tango in Paris. The characteristics of the light here were too uniform to be "available" light, rather they were predetermined. Therefore, the grayness of the light reflected the nature of the relationship between Paul and Jeanne, while the golden color, often casting through the shutters, reflected the nature of love. This gray-gold mix created a visual depiction of the turmoil and nature of the relationship. These two elements of cinematography that are part of the visual aspects of the films reflect Bertolucci's desire for a cinema that extends beyond neorealism, into the multi-dimensions of our perceptions and senses. All of these elements are in the hands of the Director of Photography who is held in the position of realizing the director's intentions through the mediums of light, form and film. It is interesting to think that typically the Director does not play an active role in the filming other than viewing daily prints. Bertolucci's f...
