El cielo protector

The Sheltering Sky is frankly a psychological masterpiece and one of the densest books I've ever read, but it has a fairly simple plot. The film adequately reenacts the plot. but can't really convey what it is that makes the novel so exquisite.

That's not to say Bertolucci and his contributors, especially cinematographer Vittorio Storaro, don't deserve a lot of credit for their work. This should probably be accepted as the industry standard for filming the scenery of North Africa. The title alone should tell you you're in for rich cinematography and in my opinion this is absolutely necessary to the telling of the story, but the scenery does tend to overwhelm the story at times.

Malkovich and Winger both give credible performances, but they seemed like strangers to me compared to the characters in the novel. Likewise the casting of the Lyles was excellent, but their role seemed abbreviated. I found Paul Bowles himself to be a captivating screen presence, though he's only on screen briefly as the narrator.

Ultimately the film is worth watching but constantly reminded me of the discrepancy between the two media, which isn't exactly an endearing quality.

Not exactly a Biopic in the proper sense of the word, but an adaption of the autobiographical and massively dramatised novel by the American author, composer and translator Paul Frederic Bowles (December 30, 1910 – November 18, 1999). In 1947 Bowles settled in Morocco, with his wife, Jane Bowles (February 22, 1917 – May 4, 1973) who was an American writer and playwright in her own right. Not having read the book, it's too difficult to me to comment on its truthfulness, however we know that Paul Bowles was cooperating with the screenwriters, it is he who is narrating the film and even appears in a cameo role. It's the story about a couple's search for stimulation not only within their fading passion and closeness but also for their creativity and productivity. Ultimately, from the personal point of view, this turns out to be a sad enterprise, thinking that the constant traveling and external visual changes would rekindle their evaporated love and disconnection; it's a shortsighted forced-upon chase after illusions.

John Malkovich and Debra Winger are not the usual Hollywood-like physically attractive love couple 'a la Barbie and Ken' nevertheless it was beautifully exciting to watch them perpetually connect and disconnect mentally and physically. As soon as the protagonist dies, that's when the biopic turns into fiction, as Bowles kept on living till 1999. I was wondering if he wrote this scenario as a sort of a metaphor reflecting on his own life and dismantling relationship.

From the famous and truly extraordinary Italian cinematographer, Vittorio Storaro's view, this is a declaration of love to Morocco and its impressive and breathtaking landscapes, culture and nomadic life; a magnificent visual feast and one may even smell all the spices, swatting flies, feel the grit of sand between the teeth, start sweating and get one's blood boiling, not only due to the local heat but also to the carnal sultriness, whilst watching the screen!

Full frontal nudity and a few sensual yet tasteful very erotic scenes and therefore I rate it 16+.

The gorgeous main-theme of the soundtrack is a total tearjerker to me...for sentimentalists only!

Noticed that they drink a lot of MUMM Champagne, oh! how French, and that Eric Vu-An, famous Ballet dancer and ex Etoile de L'Opera de Paris had a secondary very seductive role in this typical Bertolucci epic.

Bernardo Bertolucci co-wrote and directed the film of the classic post WW2 novel by author, Paul Bowles, who also narrates.

The opening shot (after the credits roll over 1947 New York City and a ship disembarks from its port) is of Port's (John Malkovich) face as he awakens in a North African hotel room, the same scene that opens in the novel. Debra Winger is her most attractive as his young wife,'Kit.' They are accompanied by a randy travel companion, 'Tunner.'

The "casbah" atmosphere of the Moslem city's narrow stone streets, flooded with Arab denizens, camels, livestock invites the viewer in.

As soon as the odious "Mrs. Lyle" and her sweaty, overweight son came into the fly-ridden hotel lobby in the hot sultry desert nowhere, I knew I'd love to hate them.

John Malkovich is seduced by a street-smart, young Arab who beckons him to follow through dark streets into a girl prostitute's desert tent. (live chickens inside are a wonderful touch.)

The Sheltering Sky is a good representation of the novel. The book's narrative of setting, characters, and plot is dramatically envisioned and colored by the reader's point of view and imagination. We literally make the story ours; so when we watch the film version, we tend to judge the director's interpretation seriously.

Bertolucci's vision was entertaining and realized well, especially the lead character: the vast Sahara Desert, and exotic ambiance; the cinematography was beautiful. i look forward to watching it on DVD.

Two post-WWII Manhattan sophisticates who travel to avoid standing still embark on a soul-searching expedition into the Sahara Desert, where the beautiful but desolate landscapes provide a mirror to their own troubled relationship. The film is nothing if not exotic, presenting some of the purest visions of the desert since Peter O'Toole first rode a camel in 'Lawrence of Arabia'. But the scenario works best when presented as an ethnic travelogue, ushering viewers into an utterly foreign world. The messy marital plot conflicts are, by comparison, all rather vague, especially after Debra Winger goes native in a Bedouin harem. The story never really finds an ending, because there isn't anything to resolve: the characters all exist in a (handsomely photographed) vacuum, and their motivations are even more mysterious than the Arab culture surrounding them. The intrusive (and, as usual, unnecessary) voice-over narration is by novelist Paul Bowles himself, briefly glimpsed in the film's opening scenes.

It's hard to understand why this film doesn't get better reviews. Yes of course it's a reflective arty film where evoking feelings is more important than narrative drive. The amount of nudity, though in keeping with the story, does perhaps hinder its being taken seriously by some.

Surely though it succeeds as well as any film has in painting a cinematic picture of the experience of being a stranger in a strange land? The cultural barriers, dissonances, language, the maze of similar streets - everything comes together to create the feeling of utter helplessness Kit experiences when she tries to get help for the ill Port. The confusing weird relationships, often only partially depicted in the film heighten the sense of being adrift in life.

Together with some of the best ever desert cinematography rivaling even Lawrence of Arabia, North African music, noises, characters and colors this film is a rich feast for the senses indeed. And what a wonderful final voice-over, one of the most deep and thought-provoking lines in all the movies.