El cielo protector

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.

This is one of my all time favorite movies. But... and this is a major but... at least part of my appreciation stems from the fact that I watched it several times and that I've also read the book (by Paul Bowles) two or three times. So both works of art (since the book is most definitely a work of great art) tend to blend together in my mind.

I started by watching the movie though, without any previous knowledge on the novel, nor on Paul Bowles. I was impressed by the powerful imagery (theater! not dvd) and chilled by psychological the harshness of the plot. I was charmed the first time I saw the film but I fell in love when I saw it a second time, which was after I'd read the novel. Maybe this means that the film doesn't 'make it on its own', but to me that's not a problem. And if you are, like me, gripped by the movie I can really recommend the novel for more 'in depth' .

Some people here seem to think that there's no plot or just a very thin one. I disagree. It's not directly on the surface though. You'll have to concentrate and pay attention to dig it up. If you don't like that or feel that a movie should just willingly present itself to you, than this is not your movie.

Director Bernardo Bertolucci is the perfect choice for bringing Paul Bowles incredible novel -- one of the most finely crafted of the 20th century and one of my favorite books -- to the screen. Debra Winger and John Malkovich are fine as Kit and Port -- spoiled, bored, EMPTY Americans 'travelling' (NOT tourists) in Morocco just after WWII. Their journey -- one of self-discovery and an attempt to bring some life back into their marriage -- turns from one of idle fascination with an exotic culture (one in which Bowles, the author, immersed himself long ago, one which he loved unabashedly) turns into a trip to hell. Be careful what you wish for, you just might get it.

Campbell Scott is also good in the role of their friend Tunner, and the Lyles -- the fawning Eric and his intolerably superior mother -- are every bit as disgusting as they seem. Some viewers have found these latter two portrayals to be a bit 'over the top' -- but they're completely irritating characters, whining and complaining constantly about the conditions in which they chose to place themselves. They are the biting fleas you cannot remove from your sleeping bag, no matter how long you search for them.

Filmed on location in the African desert, the film resounds and shines with Bertolucci's touch -- if it seems long and slow in places, those characteristic accurately portray the atmosphere of life in desert Morocco. The unbelievable heat would tend to slow things down a bit. The director's use of camera angles, light, and those long, slow, sweeping shots are masterful and perfect. Bowles was consulted every step of the way -- a sign of the respect held for the author and his work by the director -- and he even appears in the film and supplies narration.

A lot of people may find this type of film to be a bore, but you have to be consistent by watching it. If you want to fully understand the movie, you have to read the book, for the film itself, omits a great deal of material that would have the made the film longer than that of "Gone with the Wind".

I am amazed that a film of this scope, made by a director of Bertolucci's stature, with two of the most critically acclaimed actors of our time, has not appeared on DVD. There's a wonderful documentary called DESERT ROSES: THE MAKING OF 'THE SHELTERING SKY' that would make a nice piece of bonus material for a DVD release. When the film was shown on BRAVO, that network had the good taste to run the documentary along with it. There's also a fine documentary on Bowles available from Mystic Fire Video, PAUL BOWLES IN MOROCCO, that gives an informative portrait of this literary giant.

8/10

1990 140 minutes Rated: R CC.

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.

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.