Black Narcissus (1947) - Flim Review.

Black Narcissus (1947) was adapted from a novel written by Rumer Godden and was then altered to be a film that was then directed, and screen written by Michael Powell and Emeric Pressburger. The film displays themes of religion, underlying ideas of exoticism and female sexuality as suggested by Tim Dirks “Black Narcissus (1947) is a provocative, dazzling and rich-colored psychological-religious and sexual drama” (Dirks, 2019) that is then portrayed through the convents nun characters as they begin to dwell into personal pleasures whilst residing in the isolated environment the Himalayan mountain side provides. (Fig 1. see below).

Fig. 1 Black Narcissus (1947) [film poster, Advertisement]

At the time Black Narcissus (1947) was made, World War Two (1945) hadn’t long ended and women being able to work in the workforce had risen since they had been a key part in the war effort; particularly in the labour force as the more men were required to go to war – this included farmers and factory workers - meaning women had to take up male roles and jobs to ensure the machinery and crops were making its way out across the country. Within this time women come to realise they can do the same jobs as men and that they have their own ambitions as well as sexual desire. This then rising female sexuality awareness as it was just beginning to become recognised within society; whereas before – especially in the Victorian era – only the male sexuality was discussed and not so much female sexuality creating this ‘other’ concept where the lesser (in this case women) become unimportant and should be frowned upon should they choose to dwell into their own pleasures rather than a man’s. This ideology can be seen in Black Narcissus (1947) although subtle at first; soon becomes evident toward the end of the cinematic through the character of Sister Ruth where she becomes absorbed with the thought of Mr Dean. “Ruth, who was emotionally disturbed even before joining the expedition seems to become completely unhinged once Dean shows her an act of kindness” (Mirasol, 2010) suggesting that Ruth was struggling to repress her emotions and desires even before she was sent to the mountain convent as implied by “emotionally disturbed even before joining the expedition” (Mirasol, 2010). Ruth even goes as far as dressing in sheer deep red dress with the addition of bright lipstick to renounce her nunhood with Sister Clodagh assumably reading from the bible as if to repent Ruth’s actions (Fig. 2, see below). Further emphasising the idea of “repressed sexuality within the nun's mission … where the nuns were sworn to their religious duties but fought off their nagging passions and temptations” (Dirks, 2019) as they devote their lives to God and God alone through giving up simple pleasures, “temptations” and by remaining celibate to show loyalty to the religion.

Fig. 2 Sister Clodagh repenting Ruth’s actions [film still]

Within this drama; it also explores themes of religion and how it causes and internal battel within the leading characters as they repressed their memories that once brought them joy. This can be seen with Sister Clodagh when she becomes reminiscent of her time before joining the convent, where she is with a young man are fishing in Ireland. Another example is when “the Sister in charge of the vegetable garden can’t help but plant a crop of flowers instead, their exploding primary colors providing a dizzying contrast with the black and white habits of the nuns.” (Kehr, 2001) (Fig. 3, see below). Through this the audience start to see the nuns as they were before the convent; where they enjoy the simplest pleasures such as leisure time and gardening. With this in mind the viewers can also determine that the sisters lives have become dull since joining the convent as suggested through “exploding primary colors … dizzying contrast with the black and white habits of the nuns” (Kehr, 2001) by having such vivid colours to contrast against the black and white of the nuns wardrobe it forms an imbalance within their (the nuns) routine as everything is revolving around doing good in Gods eyes so they get rewarded in the afterlife. In addition to this the extreme environment and the people they meet exaggerates their personal problems as the characters feel they have no control over the changing environment and the people around them; which then reflects their lack of control on their personal mentalities and memories that they had repressed and refrained from acknowledging.

Fig. 3 The Vegetable Patch [film still] 

The set design with the film is ingenious as seen through its incredible matte painting application, set mise-en-scene and use of exaggerated lighting in scene where the mood be come intense. The audience first get a glimpse of the set art were sister Clodagh rings the large bell at the edge of the precipice (Fig. 4, see below). Everything surrounding the bells structure (the landscape) is matte painted and superimposed onto the shot to transport the viewers to a Himalayan cliff side that doesn’t exist but could in a cinematic universe. The lighting in this shot shows that of a cool blue and green showing a form of restraint within the character before the later events unfold with the addition of sister Ruth, where toward the end of the film the lighting that surrounds her becomes tinged with red and orange (Fig. 5, see below) suggesting the hidden anger and passion, alternatively the lust and sexual desire that she had to repressed whilst in the convent.  

Fig. 4 Himalayan cliff side [film still] 

Fig. 5 Sister Ruth’s hidden anger and passion [film still]

Black Narcissus (1947) was a step forward at the time in raising problems that face women either mentally or physically as a female led cast takes charge of their control even though it seems that they are losing a winning battle against the elements. Posing the idea “of the three central conflicts every story should have, man against the world, man against man, and man against himself.” (Mirasol, 2010) This seen with Sister Clodagh trying to control environment and the people around her, Sister Ruth against Sister Clodagh and Sister Clodagh battling her memories due to the vast environment reminding her of them. Other films that can relate to the idea of either leaving the convent or having the will of others force upon them can be seen in the Sound of Music (1965) and Sister Act (1992) where it shows two strong female leads either take control of their passions or are forced to restrain their desires in order to blend in with society thrust upon them.

Bibliography:
Dirks, T. (2019) Black Narcissus (1947). At:https://www.filmsite.org/blacknarcissus.html  (Accessed 19/11/2019) In-text citation: (Dirks, 2019).
Kehr, D. (2001) Black Narcissus | The Current | The Criterion Collection. At: https://www.criterion.com/current/posts/94-black-narcissus  (Accessed 19/11/2019) In-text citation: (Kehr, 2001)
Mirasol, M. (2010) "Black Narcissus," which electrified Scorsese | Far Flungers | Roger Ebert. At:https://www.rogerebert.com/far-flung-correspondents/black-narcissus-which-electrified-scorsese  (Accessed 19/11/2019) In-text citation: (Mirasol, 2010).


Illustration list:
Fig. 1 Black Narcissus (1947) [film poster, Advertisement]. At: https://www.imdb.com/title/tt0039192/mediaviewer/rm1187756288 (Accessed 19/11/2019)
Fig. 2 Sister Clodagh repenting Ruth’s actions [film still] In: Black Narcissus (1947). At: https://www.imdb.com/title/tt0039192/mediaviewer/rm1039111169  (Accessed 19/11/2019)
Fig. 3 The Vegetable Patch [film still] In: Black Narcissus (1947). At: https://www.imdb.com/title/tt0039192/mediaviewer/rm4270167041 (Accessed 19/11/2019)
Fig. 4 Himalayan cliff side [film still] In: Black Narcissus (1947). At: https://www.imdb.com/title/tt0039192/mediaviewer/rm4068840449 (Accessed 19/11/2019)
Fig. 5 Sister Ruth’s hidden anger and passion [film still] In: Black Narcissus (1947). At:https://www.imdb.com/title/tt0039192/mediaviewer/rm2281797632 (Accessed 19/11/2019)