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te nel deserto/The Sheltering Sky: Time and Memory Bertolucci declared that after The Last Emperor he was looking for a subject that would allow him to 'put the soul under a microscope' and that in reading Paul Bowles's novel he was 'fascinated by the idea of these "figures in a landscape" so like the paintings of Caspar David Friederich' (Leys, 1990: 53). This declaration is pertinent to the following analysis, which outlines how Bertolucci uses the impact of the desert landscape on the protagonists' lives to represent the problems affecting human relationships in contemporary Western society. It will be argued that the film's approach is to highlight the diminishing importance of the memory of original human needs and desires in Western society, due to a radical change in the perception of time. In fact, the film is centred on its protagonists' gradual awareness of having lived their lives oblivious to the crucial meaning of existence, an awareness that leads to death or to a sense of perdition both in the individual's inner and outer worlds, hi studying the ways in which Bertolucci conveys the complex, cognitive experiences and also the intense, affective experiences of the subject, my analysis divides the film into three main conceptual elements: the representation of time, the representation of the sublime, and the representation of lyrical forms. The analysis also highlights how the film's montage and the retro quality of the mise-en-scene sustain and intertwine these theoretical facets throughout the film. Plot summary During the film's opening credits, clues emerge about the narrative's themes; time and memory. The credits roll against a background of black and white images, depicting a ship preparing for a transoceanic journey, which are given a sepia tone. It has been noted that the sepia tones invoke 'the nostalgic look of old 1950s postcards' (Loshitzky, 1995: 2). However, any interpretation of this aesthetic as an indication of nostalgia is somewhat simplistic, as the 240

working class people depicted in these images evoke the mass emigration from Italy to the USA that occurred during periods of economic hardship. The brown colour is a device which immediately shapes viewers 5 cognitive and affective engagement, by positioning them at a temporal distance from the fictive world. The narrative, based on Bowles's novel, is set at the beginning of 1900 and concerns a tour of Africa - a place historically and mythically linked to man's birthplace - made by three Americans. There is a married couple, Port (John Malkovich) and Kit Moresby (Debra Winger), (a composer and writer respectively), and their entrepreneur friend George Tunner. They are intermittently joined by a British woman, Mrs Lyle, and her adult son Eric who has no apparent job. Port and Kit's marriage has lost much of its enthusiasm, and their present rapport, essentially a friendship, is clearly unsatisfactory for both. Port's contact with a different culture and immersion in a fascinating yet wild environment brings him to realize that he loves his wife deeply, although this realization arrives belatedly and he dies of malaria. Kit feigns intellectual detachment and enjoys Tunner's amiable company, the latter clearly in love with her. But her impression of having everything under control is mistaken; after drinking too much, she allows herself to be seduced by Tunner. Later, she also belatedly declares her love to her dying husband. In shock, Kit runs away from the situation and, having joined a group of Tuareg, she passively becomes the sultan Belquassim's lover, until his wives banish her. Kit is rescued and returned to Western society but her rescue is incomplete, as she ultimately rejects being reunited with Tunner because she feels psychologically lost. The representation of time through subjective narration The two poles around which Bertolucci represents time are an intense subjectivity and a detachment from what Deleuze terms 'sensory-motor situations', (Deleuze 1989: 126) 241

working class people depicted in these images evoke the mass emigration from Italy to the<br />

USA that occurred during periods <strong>of</strong> economic hardship. The brown colour is a device which<br />

immediately shapes viewers 5 cognitive and affective engagement, by positioning them at a<br />

temporal distance from the fictive world.<br />

The narrative, based on Bowles's novel, is set at the beginning <strong>of</strong> 1900 and concerns a<br />

tour <strong>of</strong> Africa - a place historically and mythically linked to man's birthplace - made by<br />

three Americans. There is a married couple, Port (John Malkovich) and Kit Moresby (Debra<br />

Winger), (a composer and writer respectively), and their entrepreneur friend George Tunner.<br />

They are intermittently joined by a British woman, Mrs Lyle, and her adult son Eric who has<br />

no apparent job. Port and Kit's marriage has lost much <strong>of</strong> its enthusiasm, and their present<br />

rapport, essentially a friendship, is clearly unsatisfactory for both. Port's contact with a<br />

different culture and immersion in a fascinating yet wild environment brings him to realize<br />

that he loves his wife deeply, although this realization arrives belatedly and he dies <strong>of</strong><br />

malaria. Kit feigns intellectual detachment and enjoys Tunner's amiable company, the latter<br />

clearly in love with her. But her impression <strong>of</strong> having everything under control is mistaken;<br />

after drinking too much, she allows herself to be seduced by Tunner. Later, she also belatedly<br />

declares her love to her dying husband. In shock, Kit runs away from the situation and,<br />

having joined a group <strong>of</strong> Tuareg, she passively becomes the sultan Belquassim's lover, until<br />

his wives banish her. Kit is rescued and returned to Western society but her rescue is<br />

incomplete, as she ultimately rejects being reunited with Tunner because she feels<br />

psychologically lost.<br />

The representation <strong>of</strong> time through subjective narration<br />

The two poles around which Bertolucci represents time are an intense subjectivity and a<br />

detachment from what Deleuze terms 'sensory-motor situations', (Deleuze 1989: 126)<br />

241

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