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Un thé au Sahara

Titre original : The Sheltering Sky
  • 1990
  • R
  • 2h 18m
ÉVALUATION IMDb
6,7/10
14 k
MA NOTE
Un thé au Sahara (1990)
Home Video Trailer from Warner Home Video
Liretrailer1 min 46 s
1 vidéo
63 photos
Desert AdventureAdventureDrama

Un couple d'Américains voyage à l'étranger pour donner un second souffle à leur relation. Mais à mesure que le voyage se poursuit, leur tentative de retrouver ce qu'ils avaient autrefois sem... Tout lireUn couple d'Américains voyage à l'étranger pour donner un second souffle à leur relation. Mais à mesure que le voyage se poursuit, leur tentative de retrouver ce qu'ils avaient autrefois semble vaine.Un couple d'Américains voyage à l'étranger pour donner un second souffle à leur relation. Mais à mesure que le voyage se poursuit, leur tentative de retrouver ce qu'ils avaient autrefois semble vaine.

  • Director
    • Bernardo Bertolucci
  • Writers
    • Paul Bowles
    • Mark Peploe
    • Bernardo Bertolucci
  • Stars
    • Debra Winger
    • John Malkovich
    • Campbell Scott
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    6,7/10
    14 k
    MA NOTE
    • Director
      • Bernardo Bertolucci
    • Writers
      • Paul Bowles
      • Mark Peploe
      • Bernardo Bertolucci
    • Stars
      • Debra Winger
      • John Malkovich
      • Campbell Scott
    • 81Commentaires d'utilisateurs
    • 28Commentaires de critiques
  • Voir l’information sur la production à IMDbPro
    • A remporté le prix 1 BAFTA Award
      • 9 victoires et 8 nominations au total

    Vidéos1

    The Sheltering Sky
    Trailer 1:46
    The Sheltering Sky

    Photos63

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    Rôles principaux31

    Modifier
    Debra Winger
    Debra Winger
    • Kit
    John Malkovich
    John Malkovich
    • Port
    Campbell Scott
    Campbell Scott
    • Tunner
    Jill Bennett
    Jill Bennett
    • Mrs Lyle
    Timothy Spall
    Timothy Spall
    • Eric Lyle
    Eric Vu-An
    • Belqassim
    Amina Annabi
    • Mahrnia
    Philippe Morier-Genoud
    • Captain Broussard
    Sotigui Kouyaté
    Sotigui Kouyaté
    • Abdelkader
    • (as Sotigui Kouyate)
    Tom Novembre
    • French Immigration Officer
    Mohamed Ben Smaïl
    • Smail
    • (as Ben Smail)
    Kamel Cherif
    • Ticket Seller
    Mohammed Afifi
    • Mohamed
    • (as Afifi Mohamed)
    Brahim Oubana
    • Young Arab
    Carolyn De Fonseca
    • Miss Ferry
    • (as Carolyn de Fonseca)
    Veronica Lazar
    Veronica Lazar
    • Nun
    Rabea Tami
    • Blind Dancer
    Nicoletta Braschi
    Nicoletta Braschi
    • French Woman
    • Director
      • Bernardo Bertolucci
    • Writers
      • Paul Bowles
      • Mark Peploe
      • Bernardo Bertolucci
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs81

    6,714.4K
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    Avis en vedette

    6SnoopyStyle

    Grand meandering story about aimless people

    American couple Port (John Malkovich) and Kit Moresby (Debra Winger) see themselves as travelers looking for new experiences. They go to Tangier after the war with their friend George Tunner (Campbell Scott) who they see more as a tourist. Port is introduced to a prostitute and is robbed. Kit and George take a train trip. Port is jealous and follows them catching a ride with the Lyles (Jill Bennett, Timothy Spall).

    It's a grand meandering story about being aimless. It's not just about being aimless but there is also a pointlessness about the movie. The location shoots are wonderfully exotic. Malkovich is chewing up the scenes and Spall is being weird. However the movie struggles to find a meaning.
    bob the moo

    Looks good but the plot struggles to hold before eventually just being hard work

    Port and Kit Moresby are travellers who come to North Africa to spend a year or so. With them travels a friend, George Tunner. Their journey hides the gradual breakdown of their relationship - a fact that is only highlighted when Port visits an Arab prostitute and Kit sleeps with Tunner after a drunken train journey together.

    Before you sit down to see this film, you really need to have asked yourself what sort of mood you are in. Are you looking for a fast film, something entertaining and slick to distract you from life, or provide background noise in the room while you iron? If you are looking for such a movie then there must be thousands of action movies and comedies that you can watch. If you are in a contemplative mood or are able to accept the story that comes at you no matter how slow or difficult to get into then you may as well give this a stab. The film focuses on the relationship between Kit and Port, a relationship that has been crumbling for many years before we are brought into the story. The film then uses the journey as a journey of them both and, ultimately, Kit to find more about themselves, each other and their lives.

    If this sounds straightforward then forgive me, for it is not. The film doesn't help; it is difficult to get into the story because at times it doesn't seem to really be about anything. It is not so bad for the majority of the film, but Kit's wander in the last 30 minutes is difficult because it seems to be going nowhere and not be connected to the emotions that we only assume she might be feeling. This is the main problem with the film - not so much the slow pace but the fact that it could be running but it wouldn't matter because it would still feel like it isn't actually going anywhere. It is possible to take something from this film but the actual intension was lost on me - when the final lines of dialogue came I hoped they would be as a torch in a dark room - but they only served to lose me that much more. I hate arty films when they seem to revel in their sheer impenetrateability, sadly that seemed to be the case here.

    Malkovich and Winger are both very good; they acted wounded and hurt very well within their veneer of respectability and normalcy. It's a shame that, although their performances help us get into Kit & Port's relationship, they are unable to help us understand (or care) when the film begins to become `deeper' than that. Scott is quite interesting but underused, although Spall and Bennett are reasonably good. The star here is the desert, and it looks great. For all his faults as a storyteller here, Bertolucci can frame a shot, producing a great sense of place as well as some really gorgeous travelogue moments. If that's your thing (a `deep' and beautiful film) then you'll be OK, but I needed some emotional buy in or at least something approaching a narrative that could be easily followed with a bit of thought.

    Overall this is an interesting but ultimately frustrating film. It looks great and it all seems very worthy, but where it goes was beyond me. I enjoyed watching it as it forced me to think instead of just vegging out (like so many other films do) but at the end of the day I was left wondering if this was artistic posturing on a big scale or if it really did have an emotional core that I just couldn't reach.
    9richy29

    Read the book

    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.
    7ankurmangla-46608

    will be awesome if read book before movie!!

    "It was such places as this, such moments that he loved above all else in life; she knew that, and she also knew that he loved them more if she could be there to experience them with him. And although he was aware that the very silences and emptinesses that touched his soul terrified her, he could not bear to be reminded of that. It was as if always he held the fresh hope that she, too, would be touched in the same way as he by solitude and the proximity to infinite things."
    8ursulahemard

    Cinematographer Vittorio Storaro's love letter to Morocco

    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.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Paul Bowles, author - and thinly disguised subject - of the autobiographical novel on which the film is based, said, "It should never have been filmed. The ending is idiotic and the rest is pretty bad." This quote comes from a rare interview that was part of the film Let It Come Down: The Life of Paul Bowles (1998).
    • Gaffes
      The crew is reflected in the mirror when Kit gets out of bed alone.
    • Citations

      [last lines]

      Narrator: Because we don't know when we will die, we get to think of life as an inexhaustible well, yet everything happens only a certain number of times, and a very small number, really. How many more times will you remember a certain afternoon of your childhood, some afternoon that's so deeply a part of your being that you can't even conceive of your life without it? Perhaps four or five times more, perhaps not even that. How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless.

    • Connexions
      Featured in Siskel & Ebert & the Movies: Havana/Mermaids/The Sheltering Sky/Awakenings/The Long Walk Home (1990)
    • Bandes originales
      Goulov Limma
      Performed by Chaba Zahouania

      Courtesy of Mango/Island/PolyGram Records

      by arrangement with PolyGram Special Markets

      © 1990 Island Records Ltd.

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    FAQ19

    • How long is The Sheltering Sky?Propulsé par Alexa

    Détails

    Modifier
    • Date de sortie
      • 30 novembre 1990 (United Kingdom)
    • Pays d’origine
      • United Kingdom
      • Italy
    • Langues
      • English
      • French
      • Arabic
    • Aussi connu sous le nom de
      • The Sheltering Sky
    • Lieux de tournage
      • Ait Benhaddou, Morocco
    • sociétés de production
      • Recorded Picture Company (RPC)
      • Aldrich Group
      • Film Trustees Ltd.
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 25 000 000 $ US (estimation)
    • Brut – États-Unis et Canada
      • 2 075 084 $ US
    • Fin de semaine d'ouverture – États-Unis et Canada
      • 82 753 $ US
      • 16 déc. 1990
    • Brut – à l'échelle mondiale
      • 2 075 084 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 18 minutes
    • Couleur
      • Color
    • Mixage
      • Stereo
    • Rapport de forme
      • 1.85 : 1

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