Den Sorte Lilje
Only few
minutes into ”Black Narcissus” one thing was very clear: I was in for a
cinematic treat. “Black Narcissus” won some of the most well deserved Oscars
for it’s cinematography and art direction and all through the movie we are
treated to the most extravagant display of cinematographic superiority. I am
flat down on my stomach, this is by far the most beautiful film I have seen so
far on the list.
To start
with it is in Technicolor. Powell and Pressburger had already shown us what
they can do with colors in “Life and Death of Colonel Blimp” and again in “A
Matter of life and Death” and thanks to the excellent combination of head of
photography Jack Cardiff and art director Alfred Junge they reach a peak with “Black
Narcissus”. The colors are not just beautiful, they are also used to dramatic
effect. There are color filters to reflect moods, cold colors, warm colors,
haze or clarity and at a critical point, pang!, a very red dress, lipstick,
pale skin, drama and violence.
Secondly
they manage to create this mountain recluse of a convent in the Himalayas. A solitary
structure impossibly clinging to the rocks with a sheer drop of hundreds of
meters to the valley below. Vistas all-around of the most dramatic
mountainscape imaginable. It is gorgeous, dramatic and not without a hint of
Shangri-La. The place is populated with native Indians and the recluse itself
is painted dramatically with erotic dancing scenes reflecting its former use as
housing for the ruler’s harem. Shockingly all this is just an illusion created
in the Pinewood studios in England, but it is so real that they got letters
from people in India who recognized the place! Just amazing.
Any review
of this movie must first of all relate to this astonishing feat of
cinematography, and frankly I would be happy if this was all I got from the
film, but there is a lot more to it.
It is the
story of a group of nuns led by sister Clodagh (Deborah Kerr) who has been sent
out by the sisterhood to create a convent at this remote location. The local
leader, the General (Esmond Knight), has graciously lend them the use of this
old palace/fortress/recluse after a group of monks gave up their mission. The
General’s agent is an Englishman called Mr. Dean (David Farrar) and he is the
contact point for the sisters.
This is a
clash from the beginning. The nuns are almost the definition of repression and
control with their white, tight and elaborate outfits and a total submission to
their vocation. Even for nuns this group of sisters seems particularly bent on
ignoring all outside distraction to focus on their dedication to work and prayer.
Mr. Dean is the exact opposite. His cloth is in disarray, his hat would look
shabby on a hobo and his easy manner speaks of a man who takes it easy. 20
years later he would have been the local hippie. He is also a representative of
this place. Everything here is about loosening up and be honest to yourself.
The locals are artless and honest, the nature is brutal and beautiful and there
is something very intoxicating about this place. The erotic paintings on the
wall seem quite natural here.
Much of the
enjoyment of this film is watching this clash unfold. The poor sisters start to
unravel, not in the sense that they become unhappy, but their determination for
denial is challenged in a big way, almost as if this place is ruled by a different
god , one with different rules than the one they are used to. Sister Clodagh is
desperately trying to keep the sisterhood under control, but she is also
haunted by dreams and thoughts from a time before she joined the sisterhood. I
enjoy all this, not because of some mean streak in me against nuns, but because
it is such an interesting personal conflict which here is lifted up from being
just personal to a general conflict. It asks the nuns if this is really what
they want, it moves them to see a greater world of beauty and passion and a
divinity, which is not covered by their interpretation. At some point Sister
Clodagh asks Mr.Dean in exasperation what to do about these locals besieging their
world and he replies “Do what Christ would have done” implying that their true
calling might be something else than what the sisterhood calls for.
The sisters
are also a colonial intrusion into a world that has done fine without them for
thousands of years and we sometimes get this feeling that the locals are
looking at the nuns bemused, wondering what to make of them. There are two most
interesting representatives of the local culture. One is an Indian girl called Kanchi.
She is the embodiment of sensual eroticism. She does not say anything, but
dance invitingly, look at men with unhidden desire and seems to belong far more
than the nuns in this palace. It took me a long time to realize that this is
actually Jean Simmons. Really, I could not recognize her. For a long time I was
convinced that this really was an Indian girl.
The other
representative of the local culture is the son of the General (Sabu). He is a
young man very intent on learning all he can from the nuns. He embraces their
culture with fervor, but in the end turns away from them in favor of Kanchi.
Just to put a big fat line on how alien and misplaced the sisterhood is in this
environment.
The story
reaches a dramatic height when one of the sisters break down completely. All
the sisters are losing it collectively, but Sister Ruth (Kathleen Byron)
becomes utterly mad. She was already chaffing under the constraint of the sisterhood
when they left for this place, but it comes to a blow as she breaks the
bondage. The scene where she steps out wearing a bright, deep red dress instead
of the white and serene outfit of the nuns is so dramatic and erotic. There are
sweat drops on her forehead and her lips are curled in a snarl as breaks free.
She is a fury, a mad force of sexual energy who like a chain lightning storms
around wreaking havoc. My favorite scene of the entire movie (and there are
many to pick from) is Sister Ruth emerging from the door with wet hair, a pale
face and eyes bent on murder. There is so much energy in this picture that you
cannot help gasping. Wow.
I have in
the past enjoyed the Archer movies, but always had that little “but”. Here
there are no “buts”. This film is a master piece and I can only recommend to
anybody who cares to listen. “Black Narcissus” is an interesting story about
fundamental questions wrapped in a production that is just mindboggling.