Download (12MB) - University of Salford Institutional Repository
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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
- Page 193 and 194: the closed doors, his sense of soli
- Page 195 and 196: lying on. Bearing in mind the manne
- Page 197 and 198: Bertolucci seemed aware of the film
- Page 199 and 200: illuminated as if to imply the brig
- Page 201 and 202: hues of bluish-grey colouring are d
- Page 203 and 204: a narrative focus means that the de
- Page 205 and 206: Notes 1. They Live by Night (1948)
- Page 207 and 208: 1985: 73) should be contextualized
- Page 209 and 210: The film's cognitive structure and
- Page 211 and 212: daily life elicits nostalgia for a
- Page 213 and 214: that periodically distances viewers
- Page 215 and 216: followers), sensitive (she relates
- Page 217 and 218: part of the film depicting the peas
- Page 219 and 220: engagement will again change from e
- Page 221 and 222: leadership, which is arguably assum
- Page 223 and 224: References Bachmann, G. (1973) 'Eve
- Page 225 and 226: The success of The Last Emperor ena
- Page 227 and 228: L 'ultimo imperatore/The Last Emper
- Page 229 and 230: out; the red of a notice on the wal
- Page 231 and 232: The intellectual implications of th
- Page 233 and 234: the Forbidden City. This, combined
- Page 235 and 236: Japanese. His personality fits the
- Page 237 and 238: the belief that whereas language ma
- Page 239 and 240: In addition, the presence of a hist
- Page 241 and 242: (2009) is one recent, successful ex
- Page 243: Gaut, B. (1999) 'Identification and
- Page 247 and 248: strengthening viewers' alignment wi
- Page 249 and 250: experience of being out of clock ti
- Page 251 and 252: where the contemplation of this inf
- Page 253 and 254: infinite. In his discussion of sour
- Page 255 and 256: camera's 'symbiotic fusion' with th
- Page 257 and 258: criticism of contemporary Western i
- Page 259 and 260: is conveyed by Port's bleak awarene
- Page 261 and 262: Piccolo Buddha /Little Buddha: A Jo
- Page 263 and 264: concludes that all three children a
- Page 265 and 266: intensity created by stylized light
- Page 267 and 268: of a children's book, takes on a pr
- Page 269 and 270: Jesus throughout Siddhartha's progr
- Page 271 and 272: human feelings and desires. This in
- Page 273 and 274: diminishing because of Western soci
- Page 275 and 276: In all three films it is possible t
- Page 277 and 278: the film's dramatic pivot - appears
- Page 279 and 280: different stylistic registers as th
- Page 281 and 282: esolve it; and a predominantly unre
- Page 283 and 284: the two characters. The failure to
- Page 285 and 286: even understanding from viewers and
- Page 287 and 288: illusion. In search of new scandals
- Page 289 and 290: That this sequence was written, pro
- Page 291 and 292: of Caterina discovering Joe's drug
- Page 293 and 294: on different types of meat. The bar
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