Nando Cicero
Ultimo Tango A Zagarol (1973)

I admit that, unlike those who have impeccably reviewed "Singin' in the Rain" inspired by a rainy day, last night I was inclined to watch an erotic film (rain stimulates certain lower abdominal movements in me...).

My choice, in that inexhaustible mine called YouTube, fell on an old title that I have never adequately considered, namely "Last Tango in Zagarol" filmed in 1973 when the famous (and perhaps overrated) "Last Tango in Paris" by Bertolucci was considered the film of the moment, riding the wave of the well-known scandal it caused and the consequent legal troubles. And I must admit that Nando Cicero's title didn't displease me, at least as a parody of the illustrious Parisian tango original which, having recently rewatched it, seemed very dated to me.

The plot of "Last Tango in Zagarol" revolves around the vicissitudes of poor Franco (played by the unforgettable Franco Franchi), a man subjugated by a despotic wife, owner of an hourly hotel where the poor husband acts as a jack-of-all-trades. Treated with disdain, forced on a strict diet and denied his sexual needs by the aforementioned wife who keeps her lover (the surprising crooner Nicola Arigliano) well-fed in a room of the hotel, Franco decides to escape and takes refuge in an empty apartment. Here, unexpectedly, a mysterious girl passes through (note that this is Martine Beswick, previously seen as a Bond girl in "From Russia with Love" and "Thunderball") who doesn't hesitate to jump on the incredulous Franco (certainly not so charming as to generate such uncontrollable urges..). From here, a strange relationship forms between the two, as the girl subjects the man to sadistic encounters on an electrified mattress and forces him to skip meals. And Franco doesn't fare better while wandering the streets of Rome, as he encounters a television director (the priceless Franca Valeri in this role) who employs him in daring and live-action reports. In short, Franco is a man in crisis, coveted and tyrannized by relentless and unreliable women, to the point that upon discovering the true activity of his new lover (a street woman), the protagonist would be tempted to leave everything and everyone, but life can bring unexpected and not entirely negative surprises for a person so battered by misfortune...

Certainly, the work fits within that vast area classified as trash or B-movies. It's not a great film, there are some slightly stretched moments like the tango contest in the finale, but for once one must admit that such a bawdy comedy cannot be relegated to oblivion. After all, an actor like Franco Franchi, well-known in the many comedic films made with his partner Ciccio Ingrassia, handles the role of the oppressed man well, together with his typical ability to showcase extensive facial expressions.

In addition, there's the effective parody of certain cornerstones of "Last Tango in Paris," such as when Franco, wandering through Rome, wears the famous camel-colored coat just like Marlon Brando in the Parisian version (and also Alain Delon in "The First Night of Quiet") and has an expression inspired by a certain existential malaise that is not very believable and definitely comical. Or the absurd choice of the two lovers not to reveal their names while making love, only to blow raspberries at each other. Meanwhile, the famous use of butter in the anal relationship depicted in Bertolucci's film is avoided here because Franco prefers to spread the longed-for food on a slice of bread to appease his primal hunger (much to the girl's disappointment).

Therefore, the work as a whole withstands the test of time well, unlike "Last Tango in Paris." Indeed, if Bertolucci's film is steeped in a dark and decadent atmosphere, Nando Cicero's parody, besides being recently reevaluated by certain film critics (see Goffredo Fofi), maintains a comic tone without being vulgar. Demonstrating that erotic plots can be tackled with irony. And in these so gray times, it is already a comfort to allow oneself a bit of good humor.