第2次世界大戦後まもない1947年、ニューヨークから北アフリカへある夫婦が旅行にやってくる。かつて2人を取り巻いていた活気が薄れ、愛も夢もなくなってしまったことに気づいた夫婦は、この北アフリカで何かを発見できるのではないかと考えていたのだ。しかし、旅行を続ける内にかえって2人の関係は険悪になってゆく……。
AIが作品の魅力を深く読み解いています
製作費: $25,000,000 (38億円)
興行収入: $2,075,084 (3億円)
推定収支: $-22,924,916 (-34億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: ベルナルド・ベルトルッチ
脚本: Paul Bowles / Mark Peploe / ベルナルド・ベルトルッチ
音楽: 坂本龍一
制作: William Aldrich / ジェレミー・トーマス
撮影監督: Vittorio Storaro
制作会社: Recorded Picture Company / Aldrich Group / Film Trustees Ltd. / TAO Film
When “Kit” (Debra Winger) and her husband “Port” (John Malkovich) realise that their relationship is running out of steam, they decide to head into the Moroccan desert and rejuvenate their lives. Things don’t quite get off to the start he’d want though as he quickly finds himself in an erotic knocking shop complete with noisy chickens whilst befriended by the rather sexually ambiguous and sweaty “Eric” (Timothy Spall) and his frugal mother (Jill Bennett). They have their uses, though, as his wife and their friend “George” (Campbell Scott) have headed into the interior and he wants to pursue. It’s upon this journey that we realise, through some narration, that nobody here has ever been especially honest with the other and that any solution that may emerge here will be, at best, an hybrid of what they wanted/expected or even dreamt. Though both Winger and Malkovich take the lead here, and deliver competently, I found it was actually the supporting cast that worked better at illustrating the toxicity of this scenario. Spall, especially, but also the native tribespeople who take part and who viscerally illustrate the contrast between our two amidst marital turbulence and societies that subsist amidst the arid, fly-infested yet beautiful villages of the northern Sahara. It’s that photography, reminiscent of the Jack Cardiff, that conveys a marvellous combination of the passive, the manic and the serene as the people gradually diminish into a timeless vista that for me, anyway, symbolised the superfluous nature of mankind and the irrelevance of our, largely self-inflicted, problems. As to the conclusion of the story, well I have to say that I didn’t really care one way or the other about these spoiled and rather selfish characters whose melodrama and peccadilloes didn’t really matter in a grander scheme of things. It’s that uninteresting story that dragged this down for me, that and the fact that Bertolucci seemed intent on peppering the film with sex scenes as if to compensate for a broader lack of something more substantial to demonstration any kind of emotional connection between just about any of these characters. It is a great looking film to watch but as a story I found it a little on the shallow side.
