Romancefest 2011: Black Narcissus

Speaking of repressed British people, here’s another flick from England, this time by way of those filmmakers known as The Archers – Michael Powell and Emeric Pressburger. You know it’s going to be good when you see that bull’s eye logo at the beginning.

Deborah Kerr stars as a nun sent to make a convent out of a remote palace in the Himalayas. The local general (Esmond Knight) hopes the nuns will bring modern medicine and education to his people. As the nuns struggle to adapt to the new way of life, the new climate, the constant intrusions of nature upon them and the overwhelming sense of isolation, Kerr must also put up with the general’s boorish, drunken English speaking go-between (David Farrar), a spoiled prince (Sabu), a troubled local girl (Jean Simmons), a servant as old and crazy as the palace itself (May Hallatt) and a jealous fellow nun (Kathleen Byron).

This isn’t really a traditional romance, but it was interesting to watch back to back with BRIEF ENCOUNTER since they have so much in common. Both deal with British characters of the stiff-upper-lip variety, unwillingly forced to face their buried emotions. Both films also get most of their romance from a forbidden love that’s never even consummated – BRIEF ENCOUNTER is more obvious about this relationship, but BLACK NARCISSUS is more about general eroticism than specific lovers. The movie is sexually charged because of the repression, not in spite of it, and also gets a lot of mileage out of juxtaposing opposites, most specifically, the reserved nuns vs. the uninhibited locals.

The use of Technicolor and painted backdrops to create the exotic Himalayan locale is pretty amazing. The palace/convent is perched precariously on the edge of a high cliff, with the bell that Kerr has to ring dangerously close to a steep drop. There are vast views of the massive mountains, and it’s all movie magic, put together in a studio.

The color in these productions from England always seems more dark and saturated than it does in Hollywood movies of the time. I’ve heard it speculated before that this might be because Hollywood interiors were lit brightly to imitate the California sun and empty blue skies, while the lighting in Europe was different and meant to imitate sun coming through overcast skies. Whatever the case may be, Technicolor in the productions of The Archers always looks a little more rich and realistic and moody than its candy-coated Hollywood counterpart.

Now that I think of it, this movie kind of reminds me of BLACK SWAN -- aside from the similar titles, they both deal with female characters going a little mad while trying to manage their strong emotions. They also both keep you guessing until the end -- watching BLACK NARCISSUS, I didn't know who would live or die or get together or stay apart until the words "The End" showed up on the screen.