My mother, Audrey Hepburn: the star’s son Sean on her movies, marriages, good works and fascist parents

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The heroine of Roman Holiday and Breakfast at Tiffany’s knew war and poverty, riches and fame, love and betrayal – yet claimed to have lived a ‘terribly boring’ life. Sean Hepburn Ferrer paints a very different picture in his new biography Growing up, Sean Hepburn Ferrer says he never felt like the son of a movie star – but he very much is. His mother was Audrey Hepburn, one of the biggest names in the golden age of Hollywood, an Oscar-winner, a screen star and a fashion icon. Hundreds of millions of people all over the world recognise her from classics such as Roman Holiday, Funny Face and My Fair Lady – besotted with the way she laughs, dances, or poses tastefully in Givenchy couture. Audrey’s image is so ubiquitous in posters, art prints, magazines, on handbags, keyrings or T-shirts, that the family has made hunting for her likeness into a game. “I must have made this crack to my kids,” Sean says. “We were probably waiting for a train or a plane that had been delayed: ‘Three minut...
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Last Tango in Paris at 50: Bertolucci’s controversial drama remains troubling

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The Italian director’s knotty drama remains a provocation, a film filled with lyrical beauty but also repulsive cruelty

Revisiting films on the occasion of major anniversaries can be a disorienting reminder of time’s too-swift passage: that film is now 20/30/40 years old? How can that be? Why does it still feel so much younger than I do? In other cases, however, the film wears its advanced age in a way that makes complete sense, and so it is with Last Tango in Paris, released in cinemas in 1973. Now a half-century old, Bernardo Bertolucci’s lightning rod for scandal and debate has dated in many of the ways you might expect, but that’s not quite what I mean: at 50, the film’s age has now caught up with the overriding air of middle-aged despair and disarray that it always carried. In a sense, it was a film made to be forgotten, and then remembered with bittersweet, conflicted feelings, its significant beauty curdled over time.

Bring up Last Tango in Paris in cinephile circles today – especially those reckoning with the gender politics of the artform post-MeToo – and you won’t hear that many fond endorsements. When it’s brought up at all, the conversation swiftly narrows to its most notorious scene: the one where Marlon Brando’s Paul, a recently widowed American abroad, holed up in a desolately furnished Parisian apartment, forces himself on Maria Schneider’s Jeanne, a 20-year-old ingenue whose name he refuses to learn. Grabbing a dab of fridge-cold butter for lubrication, he anally rapes her.

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