Description:Amazon.co.uk Review
In spite of their patriotism and love of Britain, Michael Powell and Emeric Pressburger remain the most "un-British" of movie makers. Much of this has to do with the almost hyper-real, super-intensity of their films, in terms of their editing, the soundtracks and their peculiar colour schemes. This is espAmazon.co.uk Review
In spite of their patriotism and love of Britain, Michael Powell and Emeric Pressburger remain the most "un-British" of movie makers. Much of this has to do with the almost hyper-real, super-intensity of their films, in terms of their editing, the soundtracks and their peculiar colour schemes. This is especially the case with Black Narcissus. A group of Catholic British nuns invited by an Indian ruler to open a hospital in the Himalayas. However, the strain of exposure to the elements, to the native culture and to the broody, handsome presence of British agent David Ferrar, tell on the sisters. It's all Deborah Kerr can do to hold on to her vows, as she she is tormented by memories of a lost love in Ireland. Kathleen Byron's more hysterical nun is made of less stern stuff and succumbs, leaving the order and going mad with lust for Ferrar. The final confrontation between the two, maroon Byron versus white Kerr atop a belltower, is reminiscent of Eisenstein and also prefigures the climax to Hitchcock's Vertigo. The (award-winning) cinematography is the true star of this film. --David Stubbs
Amazon.co.uk Review
When Bernardo Bertolucci went to the Himalayas to film Little Buddha, so the anecdote runs, he was disappointed by the scenery. Somehow, the real thing didn't quite live up to what he'd been led to expect by Powell and Pressburger's Black Narcissus. It's not hard to see why he felt let down. Their film is almost ridiculously gorgeous--a procession of saturated Technicolor, Expressionist angles, theatrical lighting and overwrought design. It has a good claim to being the high watermark of lushness in the British cinema (and, incidentally, every original foot of it was actually shot in Britain). No wonder it took the Oscar for colour cinematography (shot by Jack Cardiff) as well as for art direction and set decoration (created by Alfred Junge).
Audiences loved it on its first release, but the critics were cooler: hadn't the story been upstaged by the baroque images? Well, probably, but that's not altogether a bad thing, since the plot--quite faithful to Rumer Godden's popular novel --isn't wholly free of corn. A group of five Anglican nuns, led by Sister Clodagh (Deborah Kerr) establish a school and hospital in a former harem among the Himalayan peaks. The wind blows, the drums pound, the Old Gods stir, and one by one the celibate sisters succumb to unchaste thoughts, above all Sister Ruth (Kathleen Byron, terrific in the role), so consumed by erotic yearning for the one Englishman in sight (David Farraar) she puts on crimson lipstick, wears her wimple-free tresses like an early Goth and takes a downward turn. (Black Narcissus features the greatest scene involving a nun and a high place this side of Hitchcock's Vertigo and Jacques Rivette's La Religieuse.) Silly, to be sure, but also sublime at times and as curiously entertaining as it is picturesque. --Kevin Jackson
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![Black Narcissus [1947]](http://i2.listal.com/image/products/200/B00004W0UQ/dvds/B00004W0UQ.jpg "Black Narcissus [1947]")
