Word: kit
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Dates: during 1990-1999
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Toward the end of the movie's two hours and 17 minutes, there is very little dialogue at all; half an hour passes with hardly a word spoken except in Tamashek, the language of the Tuareg nomads, with whom Kit hitches a fateful ride. But there are many profound images of the desert in all its pitiless grandeur, courtesy of Bertolucci and his peerless cinematographer, Vittorio Storaro. The wind sculpts mountains and minarets out of the shifting sand. On a rocky spot where Port and Kit have just made desperate love, the setting sun alights for a moment...
These panoramic vistas are no mere window dressing; they serve as counterpoint and antagonist to the Moresbys. Kit, always fighting the elements, will be blown away by them. Port, like so many Bertolucci heroes a passive creature whose bravado consists in allowing chance to work its will on him, at first believes he will enjoy feeling stranger in a strange land. North Africa, he thinks, will offer escape into adventure, exotic peril, the seductions of oblivion. He is wrong. The desert demands his surrender. The sand is quicksand; it will swallow him whole...
...Tango in Paris, his taboo-trashing melodrama about a displaced American (Marlon Brando) who provokes a torrid, cloistered affair with a young Frenchwoman. But the new movie is not about sex -- or even, Bertolucci says, "the impossibility of love. It is about the impossibility of being happy within love. Kit and Port don't realize that the modern couple is an endangered species. Couples are so attacked by the outside world that they create a kind of fusion, a symbiosis. And that takes them, eventually, to a crisis. They look at each other...
Some viewers, who believe movies should be easy and edifying, will say of Kit and Port: Such small people. But nearly all of Bertolucci's films, from Before the Revolution to The Conformist, from 1900 to The Last Emperor, are big canvases holding tiny, forlorn souls. Because of the performers' power, the Moresbys come alive onscreen as they never quite did in the book. Bertolucci looks at Malkovich, the lizardly eminence of Dangerous Liaisons, and thinks of Brando: "They are two monoliths, unchanging, absolutely still -- and, from the first moment, condemned." Winger, for too many years the great unused actress...
...horror of Sky is that at the end, you can see Kit's mind click off. The beauty of the film is that it ultimately locates a married couple's humanity in that horror...