Black Narcissus
Directed by Michael Powell and Emeric Pressburger
Studio: Criterion
Year: 1947
Aspect Ratio: 1.33:1
Running Time: 101 minutes
Rating: NR
Audio: Dolby Digital 1.0 English
Subtitles: SDH
MSRP:$ 29.95
Release Date: July 20, 2010
Review Date: July 7, 2010
The Film
5/5
A psychodrama of uncommon intelligence and haunting majesty, Michael Powell and Emeric Pressburger’s Black Narcissus is among the greatest films ever made. Its themes of repressed memories and passions are profoundly explored in one of the most unusual films of its time, and today it plays even more intelligently than ever, an avant garde film for the masses made with impeccable taste, astonishing performances, incredible cinematography, and the kind of eccentric attention to detail that keeps it forever fresh and surprising. Every viewing reveals deeper psychological layers along with the chance to study in detail its meticulous construction. Only real masterpieces like this can withstand the decades of close scrutiny and yet gain rather than lose power and prestige in the process.
Five nuns from the Convent of the Order of the Sisters of Mary in Calcutta are assigned to establish a new convent in Mopu, 9,000 feet up in the Himalayas in an old ruined palace where they will offer school and a dispensary. Sister Clodagh (Deborah Kerr) is chosen to be Sister Superior even though she is very young and has never had so much responsibility thrust upon her before. Under her charge are the outgoing Sister Honey (Jenny Laird), expert gardener Sister Phillipa (Flora Robson), dispensary matron Sister Briony (Judith Furse), and the proud but emotionally unstable Sister Ruth (Kathleen Byron). From the moment they arrive, problems ensue. The local land master is the hedonistic Mr. Dean (David Farrar) whose very presence affects two of the sisters emotionally. Troublesome natives, both royal (Sabu) and commoner (Jean Simmons), are foisted off on them causing a disruption of their objectives. And the eerie atmosphere of the place with its constant wind, pure, thin air, and an aura of foreboding about the remote retreat causes each of the sisters to become distracted from her goals.
Amazing though it may seem, apart for a couple of days of shooting on location outside of London’s Pinewood Studios, the entirety of the film was shot on the London soundstages and backlot using every bit of movie magic at the disposal of this highly gifted and enormously creative team of artists. The matte paintings used to give the elevated convent a sense of height and depth are so astonishing that they’re still staggering to examine to this day, and the cinematography by renowned artist Jack Cardiff remains unmatched, one of the greatest ever expressions of mood created by light, shadow, and the thrillingly expert use of color. Michael Powell and Emeric Pressburger are examining passions of many kinds: faith, sex, and duty among them, and the film is an exotic and erotic marvel, filled with moment after moment where passions seem to burst forth from the screen (and all done without nudity; actor David Farrar’s bare chest is as much skin as is ever revealed during the movie, and yet its sexual energy is as palpable as more graphic love scenes in modern melodramas.) That they capture the wildness and barbarism of the place (lewd frescoes and pornographic paintings on the walls) without actually being in the actual Indian locations is another of the film’s miracles, an amazing achievement from first frame to last.
The young Deborah Kerr is most impressive as Sister Clodagh, well meaning but struggling mightily with memories of bygone days and both her attraction and antagonism for the randy Mr. Dean. David Farrar gives a memorably sexy and appealing performance as Dean, all the more striking because he isn’t trying to be either sexy or appealing but rather rough and real in the role. Kathleen Byron has the most madly volatile role in the piece, and she gives an unbridled, high-pitched performance that’s wonderfully in contrast with Kerr’s more conservative emoting. The very young Jean Simmons is quixotic and alluring as the peasant girl Kanchi who steals what she likes and attempts to woo the young prince played with his customary poise by Sabu. May Hallatt overacts like fun as the caretaker Angu Ayah, and Eddie Whaley Jr. has some sweet moments as the young translator at the convent. Veteran Esmond Knight also has an endearingly funny scene as the Old General, ruler of the area.
Video Quality
5/5
The film’s original theatrical aspect ratio of 1.33:1 is faithfully reproduced here with the slight windowboxing which Criterion favors for Academy ratio films on DVD. While the previous DVD was a beautiful transfer, this new work takes that excellence up a notch with sharpness that’s unparalleled and color richness that’s gorgeous without ever becoming too overpowering or vulgar. Details in skin tones, in faces and lips are astonishing for a standard definition transfer, and black levels are superb. Additionally, the print is clean with not a scratch or bit of debris to be noticed. This is the apex for a standard definition video transfer. The film has been divided into 19 chapters.
Audio Quality
3/5
The Dolby Digital 1.0 mono track represents the sound recording from the era of the film’s production. Thus, the high end is a little shrill and the low end is pretty much nonexistent. There is also some slight hiss that that Criterion technicians have not been able to eradicate. Still, dialogue is clear and the sound quality is more than adequate.
Special Features
5/5
A video introduction to the film by French filmmaker Bertrand Tavernier is English subtitled in white while clips from the film play in the background as he comments. It runs 8 ¾ minutes.
The audio commentary for the movie is provided by director Martin Scorsese and director Michael Powell. Powell’s comments were recorded a couple of years before he died, and his thought processes are not always firing on all cylinders. Still, his comments are worthwhile. Scorsese’s enthusiasm for the film is boundless, so all of his remarks are also most interesting and worth hearing.
“The Audacious Adventurer” is a 2005 interview with Bertrand Tavernier as he discusses various aspects of the movie: the casting of the various roles, the stunning photography, and the soundstage filming rather than going on location. The 4:3 documentary runs for 17 ½ minutes.
“Profile of Black Narcissus” is a 2000 documentary featuring actress Kathleen Byron and cinematographer Jack Cardiff among others discussing the making of the movie. The clips used to illustrate the discussion in no way resemble the staggering quality of the transfer on the disc. Filmed in 4:3, the featurette lasts for 25 ½ minutes.
“Painting with Light” is a tribute to cinematographer Jack Cardiff and his work on the movie. Kathleen Byron also contributes comments about his brilliant work on the film. Running for 26 ½ minutes, it’s presented in nonanamorphic letterbox.
The film’s theatrical trailer runs for 2 ½ minutes.
The enclosed 23-page booklet includes the chapter listing, the cast and crew lists, some stunning color portraits of the actors and some striking color stills, and an appreciative essay on the movie by film critic Kent Jones.
In Conclusion
4.5/5 (not an average)
One of the world’s great cinematic treasures looks the part now with this stunning new video transfer from the Criterion Collection. Excellent bonus features only enhance what is already one of the world’s movie masterpieces. Highest possible recommendation!
Matt Hough
Charlotte, NC
