O Céu Que Nos Protege

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.

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.

As photographed by the great Vittorio Storaro, Bernardo Bertolucci's "The Sheltering Sky" is one of the most visually beautiful films ever made, almost every frame a painting in light. It is based on the novel by Paul Bowles about an American couple travelling in North Africa and trying to rekindle any passion that might have been in their marriage. Unfortunately, that flame seems to have been extinguished a long time ago. They are brilliantly played by Debra Winger and John Malkovitch, both at their very best. They have in tow a handsome young American, (Campbell Scott, excellent) and on their travels they meet an eccentric British couple, (Jill Bennett and Timothy Spall), and then there is the handsome young Arab, (Eric Vu-An), that Winger succumbs to. Bowles himself pops up now and then to comment on the action.

It is a slow and cerebral film. Neither Winger nor Malkovitch say very much but convey their feelings in the way they interact with each other. Of course, for a great deal of the time it is impossible to tell if they really love each other or if they simply need each other or if they need each other at all and again, thanks to Storaro, it has all the beauty of a travelogue even if the vast alien landscapes and the appalling conditions in which they find themselves are more likely to put you off visiting North Africa. It is also one of Bertolucci's most underrated films, an intimate epic on the transcience of human relationships and the need to go looking for ourselves in the most unlikeliest of places.

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.