Featured Audience Ratings

• Universal D

  
  In rugged outback In-juh, a handful of pious British nuns lean to their work amongst the sweaty, heathen native hordes, only the climate, the people, the atmosphere, and A MAN, all combine to insidiously fragment the constitutions of these seeking only the Lord's good work.… More
  In rugged outback In-juh, a handful of pious British nuns lean to their work amongst the sweaty, heathen native hordes, only the climate, the people, the atmosphere, and A MAN, all combine to insidiously fragment the constitutions of these seeking only the Lord's good work. Surprisingly filmed entirely in England in lustrous Technicolor, this adds little to the coliseum of opinion that going native is ultimately maddening, but does make for riveting entertainment nonetheless. Simmons and Sabu simmer showing subtle, subordinate, savage seduction.

• Red L

  
  Quite an amazing film - especially considering it was filmed in a studio 65 years ago using painted backdrops to represent the panoramic Himalayas. Even the topic is refreshing - not all goes according to plan even for nuns.

• Devon B

  
  Nuns on a mountain? Heck yes! Glorious technicolor mountains (colored in with pastel chalks, according to IMDB) where a veritable fortress hides in the Himalayas. The sisters are sent there to administer medicine to the local population (although the local population is highly… More
  Nuns on a mountain? Heck yes! Glorious technicolor mountains (colored in with pastel chalks, according to IMDB) where a veritable fortress hides in the Himalayas. The sisters are sent there to administer medicine to the local population (although the local population is highly superstitious of them). The only friend they have waiting there for them is Mr. Dean (David Farrar), assistant to the General. Ironically, this "palace" was originally built to house the original General's many wives (and now it houses the brides of Christ). It's not long before the isolation begins playing at the minds of the nuns and they begin to have doubts of faith. The technicolor illusions created in this film were said to be inspired by the dutch painter Johannes Vermeer, and the amazingly vivid and colorful backdrops are almost worth the price of admission alone. The film is practically a painting come to life. The story of the nuns is amusing and sometimes frightening and directed with a real flair by writers/directors Michael Powell and Emeric Pressburger. It is deservedly one of the top films of it's decade.

• Randy T

  
  Visually, viscerally and, dare I say it, 'spiritually' breathtaking.

• Conner R

  
  From a visual standpoint, this is completely flawless and ahead of its time in so many ways. The set design is just so detailed and colorful in a way that is believable, yet breathtaking. No one can also forget the classic bell ringing shot; that's perfection if I ever saw it.… More
  From a visual standpoint, this is completely flawless and ahead of its time in so many ways. The set design is just so detailed and colorful in a way that is believable, yet breathtaking. No one can also forget the classic bell ringing shot; that's perfection if I ever saw it. However, the character development and storytelling is in some ways a little goofy now. The costume designer for Dean must have never seen how human beings dress because he looks absolutely ridiculous. It also doesn't help that this movie is riddled with brown face and slightly racist characters. I do think that Deborah Kerr and Jean Simmons' performances and character dynamics hold up almost effortlessly, it's almost bizarre.

• Tim S

  
  Another masterwork from Powell and Pressburger, but more importantly, Jack Cardiff (director of photography). Again, bathed in color with the three strip Technicolor process, it's a marvel even by today's standards. I'm becoming a big fan of this duo of filmmakers.… More
  Another masterwork from Powell and Pressburger, but more importantly, Jack Cardiff (director of photography). Again, bathed in color with the three strip Technicolor process, it's a marvel even by today's standards. I'm becoming a big fan of this duo of filmmakers. They have impressed and entertained me immensely so far.

• Cassandra M

  
  I have now watched this film at least seven times and I am always startled by its majestic photography (all done in England and Wales), intelligent and modern dialog, and the way it dispels the dogmas of Catholic faith through cultural contact, the doubts of a non-believer, the… More
  I have now watched this film at least seven times and I am always startled by its majestic photography (all done in England and Wales), intelligent and modern dialog, and the way it dispels the dogmas of Catholic faith through cultural contact, the doubts of a non-believer, the inclement weather, the incredible height of inescapable premises, and ultimately the renunciation of a nun. Michael Powell's direction goes beyond impeccable: It is as near-perfect as one will see. But it is the psychological element, the bottled up hysteria of the nuns against the backdrop of forbidding nature, the aloof British male who is as much a Western peacock as the young Indian general who falls for the "beggarmaid," and above all the unraveling nun that provide the foundations for a riveting film with a climax to match and the most perfect ending sequence I can think of.

• Daniel M

  
  The two worst devices in film criticism are nostalgia and the arrogance of youth. On the one hand it is foolish to assume that all films from the past have a natural superiority over those made today, just as it is foolish to say that a hand-written letter is entirely superior to… More
  The two worst devices in film criticism are nostalgia and the arrogance of youth. On the one hand it is foolish to assume that all films from the past have a natural superiority over those made today, just as it is foolish to say that a hand-written letter is entirely superior to e-mail. On the other hand, in an age where almost anything can be said or done legally on screen, it is stupid to assume that a film like Black Narcissus doesn't still hold up. At first glance, Black Narcissus would seem like a lot of other melodramas released around the Second World War: emotionally shallow, overly simple, badly constructed and ultimately dull. But after its off-putting theatrical opening, the film quickly begins to defy our expectations and serves up a lot more in the way of both style and substance. What starts off shakily ends up as a brilliantly gripping, intense psychological thriller with great performance and stunning expressionist visuals. To give credit to the cynics, the opening ten minutes are a little uneven. Their style is much more quirky and offbeat than we would expect from Powell and Pressburger, even considering the level of quaintness in A Canterbury Tale. May Hallatt's role as the elderly caretaker is very off-balance in both her performance and its surroundings. The opening is also laden with exposition, and as the camera lingers on the luxurious décor of this former seraglio, we struggle to engage with our surroundings for more than a few moments. Once the nuns arrive, however, the film takes off and you forgive all its subsequent quirks of fate. The film is a visual delight, with Jack Cardiff's Oscar-winning cinematography bringing real character to both the costumes and the architecture. Most Technicolor films are praised for how bright their primary colours are, but in Black Narcissus what sticks with you is the white on screen, from the shimmering robes of the nuns to the pale walls of the convent and the flickering candles in between. The production design is so effective that you soon forget that all of this was shoot at Pinewood Studios, and all the vistas of the Himalayas are either murals or matte paintings. Black Narcissus is an intriguing exploration of sexual repression, made intriguing by its relative subtlety and understatement. Some of this is down to the context in which the film was made; even though Powell considered it "his most erotic movie", there is no open consummation of love or lust, and if such scenes had been attempted they would never have got passed the censors. But most of it is down to Powell's brilliant camerawork and Pressburger's slow-burning script. The camera is fixed on the nuns' faces to reveal every little twitch or slight smile that reveal more than words ever could. The film explores sexual repression through a number of interesting opposites. The most obvious of these is the relationship between Sister Clodagh (Deborah Kerr) and Mr. Dean (Roger Farrar). The camera treats these two characters very differently: when Clodagh is in shot, the camera focuses on her face and she is never seen out of her habit, to show her purity and resilience. With Mr. Dean, on the other hand, we get to see a whole lot more: there are many wide shots of him stomping around in short shorts, and at least one close-up on his hairy chest. Farrar is the antithesis of everything Clodagh stand for - wild at heart, uncouth, unkempt, and massively attractive. Under these circumstances, the easy thing would be to focus solely on the rivalry between these two characters and end up with Sister Clodagh resigning from the order to be with him. But Pressburger is too clever to let that happen, and instead the story plays out like a duel of principles with the prize being right rather than being in love. Both Dean and Clodagh are established as intelligent, determined and resourceful characters whose conflict comes primarily from a conflict of opinion rather than a botched desire to suppress Freudian urges. As the plot develops and Sister Ruth becomes a more prominent character, we begin to understand the intelligence behind this decision. For most of the film in which Sister Ruth plays no massive part, we are led to believe that Dean is an obstacle to the nuns' success, someone whose disregard for their religion and way of life threatens both the success of the convent and the purity of their order. But once we discover Ruth's fate, we realise that the source of evil or temptation was not so much Dean as the nuns' perception of him. In the eyes of the film, temptation is not something that comes from 'out there', beyond the safety of Christian walls. It is inside of all of us, and more often than not we drive ourselves to give into it. If we think of Black Narcissus as a version of Adam and Eve, that helps to illuminate its spiritual and psychological theses. At the beginning we believe that the convent is like Eden, a safe, perfect place surrounded by a strange land, and with Dean as the serpent who enters the Garden bringing temptation with him. But after we see what has happened to Ruth, the story departs from this in one of two ways. Either we are still seeing a Christian myth play out, but with more emphasis on perception and delusion than on physical evil. Or what we are seeing is something more humanist, where the evil is simply the torment of opposites coming together under one roof. The key scene in Black Narcissus comes when Sister Clodagh stumbles into a room and finds Sister Ruth wearing a dress and red lipstick, looking immensely proud and increasingly wanton. Here we have opposing depictions of womanhood: one is intensely sexual to the point of madness, the other pure and virginal but also naïve. Both Clodagh and Ruth are driven by a kind of faith - Clodagh by her belief in God and her need to prove herself, and Ruth by her belief that Dean loves her and that no-one must stand in her way. When Dean spurns her, shouting "I don't love anyone!", it is as much a loss of faith as Clodagh's departure, if not moreso. Fantasy plays a prominent part in Black Narcissus. Throughout the story we see flashback to Clodagh's youth in Ireland, and slowly realise her motivation behind becoming a nun. She remembers the man she loved through objects; the emeralds worn by the general's son remind her of those given to her for her wedding day which never took place. These scenes were banned when the film was first released, presumably because of its insinuation that nuns were simply failed lovers, women who didn't measure up to the men of this world. And then we have the ending, which takes us straight to the heart of expressionist horror. The way in which the screen turns red as Sister Ruth faints, or the terrifying close-ups of her eyes, foreshadow the great work of Dario Argento in Suspiria. The film also has a strong but subtle political elements. The film was released around the time of India's independence from Britain, and its final scenes have been interpreted as Britain trying to make a dignified exit from a land it could neither control nor understand. The culture clash between different religions (in this case Christianity and Hinduism) is played out very subtly, and foreshadows the more frightening and hysterical clashes in The Devils and The Wicker Man. Crucially, the film doesn't fall into the imperialist trap of portraying the British as wholly rational and the 'natives' as overtly savage. As the nuns start to disintegrate and more intelligent Indian characters come forward, such accusations become redundant. Black Narcissus is a great effort from Powell and Pressburger which is almost up there with The Red Shoes. The performances are superb, with Deborah Kerr managing to seem composed and conflicted simultaneously and Kathleen Byron scaring us to death as Sister Ruth. The film remains visually astounding, the script is subtle even in its maddest moments, and there is enough tension and brains bubbling beneath the surface to keep anyone enthralled. A hugely compelling piece and a must-see for thriller fans.

• Pierluigi P

  
  Another cumulous of the talent of filmmakers Michael Powell and Emeric Pressburger and cinematographer Jack Cardiff. The arrival into the imponent temple on the mountain arouses various kinds of intense emotions among the members of the convent of saint mary. Feelings that question… More
  Another cumulous of the talent of filmmakers Michael Powell and Emeric Pressburger and cinematographer Jack Cardiff. The arrival into the imponent temple on the mountain arouses various kinds of intense emotions among the members of the convent of saint mary. Feelings that question their loyalty to their beliefs and way of living. Especially in the already unstable sister Ruth, who is almost an evil twin or doppelganger of the righteous Sister Clodagh. An oeuvre of exotism, clash of cultures and above the rest unpolluted visual beauty, of fascinating luminic and cromatic contrasts. I think I'll never have the pleasure to see in real life a nun as sweet and pretty as Ms. Deborah Kerr.

• Anthony L

  
  Black Narcissus is a beautiful film. 90% of the credit has to go to Jack Cardiff (I met him in 2005) for his brilliant cinematography though as the rest of the film feels a little dated now. Not surprising reallly as the film is over 60 years old but the melodrama can be a little too… More
  Black Narcissus is a beautiful film. 90% of the credit has to go to Jack Cardiff (I met him in 2005) for his brilliant cinematography though as the rest of the film feels a little dated now. Not surprising reallly as the film is over 60 years old but the melodrama can be a little too OTT at times. I'll probibly get greif for this but I'd quite like to see a remake!

• Saskia D

  
  Visually stunning! <div style="width:1836px;"><a href="http://www.flixster.com/photos/deborah-kerr-black-narcissus-black-narcissus-13696996"><img src="http://content6.flixster.com/photo/13/69/69/13696996_ori.jpg"… More
  Visually stunning! <div style="width:1836px;"><a href="http://www.flixster.com/photos/deborah-kerr-black-narcissus-black-narcissus-13696996"><img src="http://content6.flixster.com/photo/13/69/69/13696996_ori.jpg" border="0"/></a><div style="text-align:center;font-size:10px;"><a href="http://www.flixster.com">

• Stella D

  
  it's magnificent. a good part of the credit must go to jack cardiff's oscar winning cinematography. his career spanned 8 decades and dozens of films including his long collaboration with powell and pressburger. one of the great cinematographers of all time, cardiff died… More
  it's magnificent. a good part of the credit must go to jack cardiff's oscar winning cinematography. his career spanned 8 decades and dozens of films including his long collaboration with powell and pressburger. one of the great cinematographers of all time, cardiff died last month at the age of 94. rip

• Ken S

  
  Another brilliant work by Powell & Pressberger. The story of a bunch of moist nuns stuck inside of a lair usually reserved for James Bond villains. Dramedy ensures

• Tim S

  
  You cannot go wrong with Powell and Pressberger.

• William S

  
  Powel & Pressburger are responsible for the greatest films in British cinema. If I had to pick a favourite it would be Black Narcissus. A beautifully erotic and gothic melodrama that was way ahead of it's time with it's dark tale of a nun going off her rocker from… More
  Powel & Pressburger are responsible for the greatest films in British cinema. If I had to pick a favourite it would be Black Narcissus. A beautifully erotic and gothic melodrama that was way ahead of it's time with it's dark tale of a nun going off her rocker from sexual repression! (Never has the applying of lipstick had more dramatic and shocking affect!) Forget Audrey Hepburn's hand-wringing in 'The Nun's Story' or Julie Andrew's warbling in the kitsch and cheesy 'The Sound of Music', this is the only film about nuns that matters! It's also a superb example of the forgotten art of matte painting and of how vital it was in creating that distinctive cinematic feel that CGI just can't compare because film-makers today feel they need to make it 'realistic'. (I don't want realism, I want magic!). The matte designs of Black Narcissus go a long way in adding to the 'surreal' and gothic atmosphere. A unique and original work of art - I love it!

• xGary X

  
  Beautifully shot but ridiculously dated melodrama about nuns resisting temptation in the form of roguish David Farrar amidst the quaint and "child-like" natives who "all look alike". Worth watching for the visuals (many shots seem like a framed oil painting) but… More
  Beautifully shot but ridiculously dated melodrama about nuns resisting temptation in the form of roguish David Farrar amidst the quaint and "child-like" natives who "all look alike". Worth watching for the visuals (many shots seem like a framed oil painting) but the hysterical melodrama and stodgy dialogue will put many off.

• Eric B

  
  Sure, "Black Narcissus" has wonderful colors, lighting and cinematography. But the story? Not much beyond its initial premise (nuns in the Himalayas), a stock "scoundrel" character and, eventually, one crazy nun who seems totally implausible. Mere visuals… More
  Sure, "Black Narcissus" has wonderful colors, lighting and cinematography. But the story? Not much beyond its initial premise (nuns in the Himalayas), a stock "scoundrel" character and, eventually, one crazy nun who seems totally implausible. Mere visuals shouldn't be enough to establish this film as a major classic.

• Byron B

  
  Vivid colors and camera work. Deserved the art direction and cinematography Oscars. Kind of disturbing how the mother superior assigned Sister Ruth (Kathleen Byron) to go with Sister Clodagh (Deborah Kerr) despite Clodagh's accurate assessment of Ruth's personality.… More
  Vivid colors and camera work. Deserved the art direction and cinematography Oscars. Kind of disturbing how the mother superior assigned Sister Ruth (Kathleen Byron) to go with Sister Clodagh (Deborah Kerr) despite Clodagh's accurate assessment of Ruth's personality. Interesting setting with the old palace up on the cliff being converted into a hospital/school by the nuns. The acting style of the old woman who takes care of the palace was not pleasant to watch. This native woman and Jean Simmons as a young native girl (both British), Sabu as a young prince and the murals on the palace walls (having the flavor of India), while the other native people who are briefly seen have a different ethnic look (whatever Asian extras the filmmakers could use) may lead to some cultural confusion. The nuns are human. They have backgrounds. The movie is about finding moderation between two extremes. Mr. Dean (Farrar) has lived in the region for many years as a British representative and has given himself fully to leisure and pleasure, but that sounds too one dimensional. He does offer to work by helping make repairs to the palace and even though he does not believe in Catholicism he seems to think it is worth a try to have the nuns take care of the troublesome local girl (Simmons). A holy man sits on a hill nearby meditating 24/7. Locals bring food and gifts out of reverence, but the holy man never speaks, he has totally withdrawn from the world. Should the sisters devote their lives exclusively to worshiping Jesus and Mother Mary while completely ignoring any human passions? No, not really. They are charged with working hard and serving those who are less fortunate. That is a stressful job. They react differently. The mountain air causes daydreaming in Sister Clodagh. Since they are so isolated, planting pretty flowers instead of sustaining vegetables can be a problem. Clodagh and Ruth are reminded that they are or once were sexual romantic women. The different ways that they deal with this leads to a creepy and life threatening scene. What kind of strength or stubbornness is really required to live a religious life of service? Where is the line between understanding the needs of the human body and denying those passions or enjoying the pleasures?

• John B

  
  Ahead of its time in depicting the descent of nuns into the carnal within a strange and isolated environment. It probably was treated as a forbidden film at the time. The strong imagery still makes an impact today.

• Chris B

  
  Starts off very slow and the film, being 64 years old, has quite a lot of color fluctuation in the beginning but by the time the story picks up you seem to forget about it. The film has great cinematography and stunning landscapes that really add a sense of depth. The actors and… More
  Starts off very slow and the film, being 64 years old, has quite a lot of color fluctuation in the beginning but by the time the story picks up you seem to forget about it. The film has great cinematography and stunning landscapes that really add a sense of depth. The actors and actresses involved also give amazing performances that to this day are a force to be reckoned with.

Read all 20 featured audience ratings