All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
After opening a convent in the Himalayas, five nuns encounter conflict and tension as they attempt to adapt to their remote, exotic surroundings.
I suppose it was only fitting that I rejoined my run of The Archers films today with this particular film after making this list earlier!
I have to admit to being rather daunted by the prospect of watching Black Narcissus. In fact, it's probably a feeling I have about almost all of The Archers films. Not because I was worried about them being difficult or complex - in fact, so far they have all been about as approachable a selection of films that the uninitiated could possibly hope them to be.
It was more to do with the writing about them afterwards that I was daunted by. You become aware, even…
The theme is from Forster and I Know Where I’m Going!, worked out "at the back of the beyond" by The Archers at their most carnal-bonkers-sublime. The old harem known as "the House of Women" is perched on the edge of Himalayan precipices, turning it into "the House of St. Faith" is the mission accepted by the Irish Sister Superior (Deborah Kerr) and her Anglican order. Quite a challenge for sanctity: There are howling winds up above and drums in the bamboo jungle below, plus the hirsute thighs of the sardonic government agent (David Farrar) to erode the resolve behind the pale habits. The stony cloister with clogged-up plumbing, the bejeweled Little General (Sabu) and the wayward odalisque (Jean Simmons),…
Film #29 of Project 40
”Remember, the superior of all is the servant of all.”
To put it simply Black Narcissus is about failure. About limitation. About arrogance. About madness. It was a terrifying experience to tell you the truth. On the surface it is a gorgeously shot movie with sharp colors and beautiful scenery but beneath this dazzling superficial layer lies a petrifying world of carnal desires, verbal threats and mental confusion with characters who are haunted by their own fears and doubts. Michael Powell and Emeric Pressburger take their characters to the end of the world and leave them alone with their own erratic minds and erotic fantasies and then witness their physical, spiritual and mental collapse. Black…
Director: Michael Powell (and Emeric Pressburger) (Third Film)
Black Narcissus is startling. It's startling because of its omniscient and thick erotic atmosphere, and all of this, in a film about nuns setting up a school in India. The immediate purity of the clothing worn by the nuns is (yet again) masterfully inventive as it opposes the natural and vibrant colours of the Himalayas and its surrounding terrain. Carnality meets oppressed sexuality in a film that doesn't rely on plot or story but wholly on the colours to express, and the atmosphere to emote and the occasional spike in emotional verbalisation from a hysterical Kathleen Byron.
Her moments are the pinnacle because of her fantastical performance: and her hysteria…
This one's going to take some time and another viewing or three to properly absorb. But it's absolutely brilliant.
A meditation on spiritual commitment versus the temptations of the world, set in a nunnery high in the Himalyas. And what a world. Gold, silk, flowers, mountains. Men who run around with their shirts off -- and who remind Deborah Kerr's nun of her lost love. Sensual Indian paintings on the wall of the old palace where the nuns now reside; look carefully, and you'll find a few bare breasts on the walls. Candlelight dancing in the dark hallways.
And all of it shot in gorgeous technicolor by Jack Cardiff. It's not as unreal as The Red Shoes, and yet the…
Step off the edge of the Himalayas and float beside the nuns.
This movie is beautiful. A shining example of an early film that decided to use color to help tell the story. The setting provides the opportunity for some of the most creative and visually inventive film techniques. It's no wonder this film cleaned up awards for Best Cinematography. The film focuses on a small village which is home to, The House of Women, set on a cliff. Coincidentally, The House of Women, ends up being a house for a group of nuns trying to bring education, healthcare, and the good word to these native people. Using models and trick photography, Powell, Pressburger, and designer Junge brought this fictional…
it's one of those films that they have to play it on theatres at least 5 times a year cause the cinematography IS BLOODY BRILLIANT!!!
watch it at least on a 40 inch tv , it will make you breathless from some scenes!
Watching "Black Narcissus" for the first time I must concur that this is indeed one of the most beautiful films ever made. Shot by the master of technicolor - Jack Cardiff, it really is a work of art.
This film is like a great painting with a wonderful use of color, composition and mood, with a real sense of place and time. Although it was mostly shot on set, it doesn't feel like it. I actually couldn't believe it was shot in 1947, because It looks much more modern than that.
The duo of Michael Powell and Emeric Pressburger were always ahead of their time and pushing the medium further. In a way they were the Stanley Kubricks of the…
Black Narcissus is so very sensual and so very sensory.
A gaggle of nuns are assigned to turn a Himalayan castle into a school/hospital for the locals. Each woman's fortitude of faith is threatened by the presence of promiscuous teenagers, roguish Englishmen, or the never ending winds. As usual, Powell and Pressburger use broad strokes. They paint an exotic, luscious world that our characters are forbidden to enjoy. The style of the Archers perfectly exaggerates the temptations of life as they would be perceived by those deprived of it. It's one of those great movies where every piece of music, lighting, and dialogue is serving its central idea.
The women's daily trials are so severe, yet there is a wry…
Before you say anything about this movie, you've got to mention how beautiful it is. This movie might have the best cinematography I've ever seen, and the setting, costumes, and religious imagery are all to thank for that. With the cinematography being so exuberant, the plot and dialogue are in fact the opposite. By that, I don't mean dull, I mean repressed, the characters in this film are repressing one thing or another, mostly memories. Which results in very understated mind games between the inner self and other people. This movie could've turned into a romance or thriller, but I'm glad it didn't. It was sure in it's convictions the whole time, making it very rewatchable. Hope to catch this on the big screen on of these days.
Joseph Anthony is the best character.
David Farrar desprende carisma.
Becoming one of my all-time favorites. I'll come back to this.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!