A woman's dangerous and erotic journey...
An American couple drift toward emptiness in postwar North Africa.
An American couple drift toward emptiness in postwar North Africa.
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Winger: "We're not tourists, we're travelers."
Malkovich: "A tourist is someone who thinks of going home the moment they arrive. A traveler might not come back at all.'
"Because we don't know when we will die, we get to think of life as an inexhaustible well. Yet everything only happens a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that's so deeply a part of your being, that you can't even conceive of your life without it? Perhaps 4 or 5 times more. Perhaps not even that. How many more times will you watch the full moon rise? Perhaps twenty. And yet, it all seems limitless." - Paul Bowles
"There are no mirrors here. So how do I look?"
There's nothing particularly likeable about Port or Kit Morseby, nor really anyone in this movie, and Bertolucci starts his film with considerable emphasis on the "haute bourgeois-ness" of the couple, the pretentious 40s New York "artiste" of Malkovich's Port and his self-styled psuedo-Hemingway etiquette, and Winger's Kit, who privately espouts how much she hates philosophy to a colleague while her husband is away and more or less is just here because she's along for the ride until she has no choice not to be. When it's only Kit that's even left, she's left with the moon and the stars and flowers and even a different culture. She doesn't make this decision on her own (and even hates making them) but…
To travel the world in the hopes of finding yourself is merely an attempt to outrun your shadow. The opening distinction between "tourists" and "travelers" is merely a delineation of how fully you're willing to commit to this delusion, and though the white people can speak the language(s), they have no understanding of the places they visit and even less ability to wring any great truths of self. The extent to which this film is read as either a continuation of or reaction against Lawrence of Arabia does get at the ways in which the protagonists of both are spiritually unfulfilled and forever trapped by the exoticism they supposedly reject, but Bertolucci fascinatingly makes an intimate story out of an…
"long, beautifully modulated cry of despair." - Said the New York times critic: Vincent Canby, on this dry picture well narrated by Bernardo Bertolucci, one of most extraordinary film director of 20th Century.
This sentence defines an irony which Bertolucci decides to give in the opening credits; setting the black-and-white New York from the 40s, the vintage images recorded in an different aspect and scope of this length; the lights and the music in the images shows to us a very safe and comfortable city to enjoy, to sleep and to live forever. A city to never forget. Tangier is also some kind of place to also live if you have enjoyed the picturesque and exotic lands. The yellow, the…
Bernardo Bertolucci´s existential drama “The Sheltering Sky”, based on the novel of the same name (which I haven´t read), follows an American married couple on their journey through North Africa in 1947. They hope to rekindle their struggling marriage, while they contemplate on topics such as cross-cultural exploration, communication, self-discovery, love, sexuality, spirituality, alienation, solitude, civilization, nature, the human condition, and the meaning of life. Without saying too much, their journey doesn´t go as they planned it.
The gorgeous desert photography, immersive worldbuilding, hypnotic atmosphere, and beautiful score make the film worth watching but the fragmented, meandering narrative and unlikable as well as uninteresting characters made it difficult for me to get emotionally invested. I definitely don´t find the film as moving and thought-provoking as it should be. For me, it´s the definition of a beautiful boring movie.
"Ah the lengthening hours in the refinery
Belching fire into the sky
We do our best vampire routines
As we suck the dying hours dry
The night is lovely as a rose
If I see sunlight hit you
I am sure that we'll both decompose
"Ah the fitful sleep and the fire engines
That I dream of when I dream
Some day we'll both wake up for good
I will try hard not to scream
The evening wind will shake the blinds
You're stirring from your slumber
We've got something hateful on our minds
"Oh sing, sing, sing
For the dying of the day
Sing for the flames that will rip through here
And the smoke that will carry us away
Yeah sing for the damage we've done
And the worse things that we'll do
Open your mouth up and sing for me now
And I will sing for you"
- We're probably the first tourists they've had since the war
-Tunner , we're not tourists
-Oh . What's the difference?
- A tourist is someone who thinks about going home the moment they arrive , Whereas a traveler might not come back at all .
B.B ، you made my day
Part of 100 Greatest Directors Club
Director #10: Bernardo Bertolucci
The Sheltering Sky, a 2 hour, 18 minute epic about three travelers (two of which are married), who decide to spend time in Africa for, reasons (they never dive into why, I guess they wanted a unique vacation since WWII just ended), and a ton of boring, uneventful stuff happens.
Yes, film buffs, if you thought Heaven's Gate had some of the most drawn out, filler, pointless, pretentious scenes in an epic, wait till you watch The Sheltering Sky, and IT'S TWO HOURS SHORTER, AND IT FEELS LONGER!!!! Whereas Heaven's Gate had a message it was trying to tell despite its heavy issues, there is no structure to this…
Bernardo Bertolucci presents a defiant fever dream set in the deserts of North Africa. Married couple Kit (Debra Winger) and Port (John Malkovich), together with travel companion Tunner (Campbell Scott) arrive seeking answers to existential questions through the direct experience of travel. There is an immanent tragic feeling that immerses the atmosphere of the movie due to their belief that one can be in perpetual motion and survive in a state of adventure forever. There is a strange tension here in that, although the film is constantly in motion, the quest for meaning the protagonists seek. Strangely, the movie seems to take place everywhere and nowhere all at the same time, as Port intuits but cannot quite express in words…
Perception and death, death of perception, what more can you ask for from a motion picture
I rather be a tourist than a traveler
me: vittorio storaro and ryuichi sakamoto can make anything watchable
bernardo bertolucci: hold my beer