Movie on DVD review: Black Narcissus (Criterion Collection edition)

Stunning visuals, thematic depth, and a thrilling finale make it timeless and powerful.

Despite critical acclaim, The Archers' Michael Powell and Emeric Pressburger’s 1947 British classic, Black Narcissus, is by no means faultless. The vintage film tends to be cheesy, sits still for long periods of time, disregards the development of specific characters and, essentially, loses focus of its central narrative. That said, there’s no mistaking why it remains one of cinema’s most celebrated accomplishments: Stunning visuals, thematic depth and a thrilling finale as effective as any by Hitchcock make the movie timeless and powerful, which is why the Criterion Collection has chosen to redistribute it amongst a collective list of successes.

Based on Rumer Godden’s novel of the same name, Black Narcissus tells of five Anglican nuns, specifically Sister Superior Clodagh (Deborah Kerr), who journey to an old castle atop a windy mountain in the Himalayas to establish a school and hospital. However, their exotic surroundings soon distract them from their mission. Sister Clodagh is repeatedly reminded of a romance before her religious commitment. Sister Ruth (Kathleen Byron), who struggles from emotional illness, fixates obsessively on a resident British agent (David Farrar). Sister Philippa delves on lost memories and obsession with beauty. Sister Briony is overcome by local superstitions. And Sister Honey accidentally causes a village baby’s death.

These struggles are the focal point of Powell and Pressburger’s film, which through them explores the chasm between religious and secular identity. The women, who arrive devoted to the cause of Christ and Mary, are shaken by their own desires for sex, marriage, and the common luxuries of privileged life, depicting the sacrifice and improbabilities that surround absolute devotion to religion. A discouraged Sister Philippa elaborates, saying: “I think there are only two ways of living in this place….Either ignore it or give yourself up to it.” For a nun—or any staunch follower of Western religion—neither of these choices works. Black Narcissus carefully examines the frustration of trying to live somewhere between them in a way viewers can connect to.

But that wouldn’t be true if it’s wasn’t for multidimensional characters. Though Powell and Pressburger neglect to develop Sister Briony and Sister Honey, who remain flat and unfamiliar, they for the most part construct round, realistic personalities. Nuns are often painted as divine beings, but here they are portrayed sensibly as ordinary, troubled people. Sister Clodagh’s character, who becomes authentic and convincing thanks to Kerr’s outstanding performance, exemplifies this reality the most effectively. Looking at her we don’t see an unblemished angelic saint; instead, we see a complex being who is flawed yet devoted to her faith.

The subtle, spiritual side of Black Narcissus surprisingly transitions in the last 20 minutes from a drama to a thriller. While it would be unfortunate to spoil the details of how that shift plays out, it succeeds mostly because of the steady build-up to the climax. Unlike shoddy horror and thrillers that simply throw unsympathetic teenagers in the middle of a disaster, this film develops its characters and allows the story to arrive on its own time at a place of intensity. There, because of an emotional attachment, we actually value the outcome.

This finale is shot remarkably. Reminiscent of both Rear Window and North by Northwest, its visuals are swift but meticulous. Powell and Pressburger’s camerawork, along with Jack Cardiff’s cinematography, transform the beautiful, majestic backdrop—expertly filmed in Pinewood Studios—into a dark and gloomy wasteland. Cardiff’s brilliant use of Technicolor doesn’t date the movie, either. His use of vibrant colors that are carefully contrasted with one another makes the 1947 production look as if it was filmed today, or at the very least during the '70s or '80s. As a whole, the film’s visual effects are mesmerizing, adding to its sensuous tenor and ageless appeal.

Comprehensively, there’s a relevance to Black Narcissus that still resonates today. Its themes remind us of common struggles. Its characters remind us of ourselves. Its visuals reflect the places we leave and go to every day. And that’s why it will always remain a classic.

David Roark loves movies. And likes to write about them.