‘The greatest arms I’ve ever seen’: Matt Damon’s muscular female stunt double Devyn Dalton

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Canadian stuntwoman is only 4ft 6in and stood in for star to make the giant Laestrygonians appear even bigger A 35-year-old stuntwoman is one of the great unsung heroes of Christopher Nolan’s new blockbuster The Odyssey – standing in for Matt Damon and displaying what the actor called “the greatest arms I’ve ever seen”. Canadian Devyn Dalton was the Hollywood star’s stunt double in a pivotal scene in the film where Odysseus (Damon) and his men are confronted by the Laestrygonians, giant armoured cannibals. Continue reading... from Film | The Guardian https://ift.tt/tgkfJR3 via IFTTT
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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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