“October 14, 1972: that date should become a landmark in movie history comparable to May 29, 1913 — the night Le Sacre du Printemps was first performed — in music history. There was no riot, and no one threw anything at the screen, but I think it’s fair to say that the audience was in a state of shock, because Last Tango in Paris has the same kind of hypnotic excitement as the Sacre, the same primitive force, and the same thrusting, jabbing eroticism. […] Bertolucci and Brando have altered the face of an art form. Who was prepared for that?”

—  Pauline Kael

From "The Current Cinema" http://www.criterion.com/current/posts/834-last-tango-in-paris. The New Yorker. October 28, 1972.

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Pauline Kael 72
American film critic 1919–2001

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