Breathtaking cinematography highlight this fantastic movie about what happens to nuns in a remote area of the Himalayas and become sexually frustrated. Deborah Kerr and Kathleen Byron are too sexy to be nuns so it is no wonder it exist porn for this genre. Jean Simmons is even cuter as a Indian teenager, but male David Farrar is weak but somehow it gloriously show how desperate and sexually frustrated these nuns are.
As Dean says, everything is exaggerated in that place, and he's not wrong. I think that stopped me from connecting to the characters or the situations. However, the story is compelling and interesting, and the tension between the characters (and between the characters and their surroundings) drives the movie well enough.
Always feel divided about this one. Behind the cinematographic bravura is a rather creaky melodrama and some uncomfortable orientalist/colonial treatments that have not aged well. But what cinematography, what colours! The sensuality, sexuality, repression and madness are extraordinarily represented, and even if the whole doesn't work for me, it remains a unique visual and sensory experience.
The visuals alone are worth 5 stars. It's absolutely Five stars for the visuals alone. Incredible that this was all accomplished on a set. One gets sucked into the beauty and strangeness of Mopu. The film combines the clean, precise, warm, and cinematic storytelling visuals of the Archers with an understated (until the final climax) sense of inner torment that I haven't seen in any of their other works.
"Black Narcissus" é como um adolescente de 15 anos que fuma o seu 1º cigarro: dá a 1ª passa e tosse, não habituado ao fumo que lhe invade o interior da boca, a découpage agridoce e planos aproximados das expressões hiperbólicas daqueles seres de branco não nos parecem fazer sentido. (continua no comentário)
Absolutely stunning work as usual from Powell & Pressburger. It's quite amazing how the duo managed to cultivate a sense of time and place so powerfully without ever stepping foot into India. Deborah Kerr superbly anchors the film & encapsulates the surge of hysteria that threatens to destroy the nuns religious conviction. The whole production truly whisks you away in its drama & leaves you so sad when its all over.
(3,5/5) "Le vent qui vient à travers la montagne me rendra fou". Ce vers de Hugo a été écrit pour ce film, qui aborde de front la question de la frustration sexuelle dans les ordres religieux (en rappelant au passage que le catholicisme sait aussi y faire en matière de voile intégral). Les pathologies mentales sont au cœur du travail des réalisateurs. Mais un orientalisme (très) désuet tire l'ensemble vers le bas...
This slow burning and erotically charged tale of id vs super-ego features some of the best cinematography put to film. The foreboding tension underlying the first two thirds of the film helps it to transcend a generic 40s romantic atmosphere, then it delivers a stunning final act that twists into almost giallo in visuals with familiar thriller undertones - only 30 years earlier. A must see!
Stunning locations, costumes, set details, great Technicolor cinematography. Unforgettable performances, especially Kathleen Byron as Sister Ruth. Unfortunately, the story is rather unfocused, there are elements of a love story, drama, thriller, even a horror, but there's something about the way these elements are connected that left me wondering what this film was actually about.
Want a story of nuns? Look The Beguiled (Don SIEGEL). The Nepalese exotism tempts you, Der Tiger von Eschnapur (Fritz LANG) will do. Except for great landscapes, this is macho & cutesy soap. === Vous voulez une histoire de nonnes? Revoir les Proies de Don SIEGEL. L'exotisme népalais vous tente, Der Tiger von Eschnapur (Fritz LANG) fera l'affaire. A part les paysages & le spectacle, ceci est macho, mièvre & longuet.