Tag Archives: Emeric Pressburger

Black Narcissus-1947

Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The look of the film is as fantastic as the story itself, with incredible cinematography, and a foreboding eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension, amid a convent of nuns living in isolation.

Deborah Kerr, wonderful in the lead role of Clodagh, Sister Superior, and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales- high atop the Himalayan mountains.

Scenes contain howling wind, mist, and fog that is believable- all of the sets are built and structured and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable given the realism, especially since the film was made in 1947.

The lighting in the film is unique, specifically the vibrant colors of the pink flowers, and later, the closeups of Sister Ruth. A fantastic example of this is her descent into madness during the final act as her face, maniacal, yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, belongs to the tales that the film tells, which are quite edgy for the year the film was made. The subject matter of religion is always risky, and the treatment of the nuns as real human beings with true emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr),  is an interesting study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar) while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is casting mostly white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing and especially guilty is the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl, who the Prince becomes infatuated with in a subplot.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything- drama, thrills, intrigue, gorgeous sets, lavish design, even a bit of forbidden passion- and executes all aspects of the film in brilliant fashion.

A film admired by critics and directors through the ages, specifically championed by Martin Scorsese, the film has the unique quality of getting better and better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)

The Red Shoes-1948

The Red Shoes-1948

Director Michael Powell, Emeric Pressburger

Starring Moira Shearer, Marius Goring

Scott’s Review #683

Reviewed September 19, 2017

Grade: A

The best in the collection of cinematic ballet films, 1948’s The Red Shoes is a highly artistic and influential film undoubtedly studied in film schools everywhere.

One cannot view The Red Shoes without amazement and the realization that this piece must have been dissected by legendary director Darren Aronofsky before he created his creepy 2010 psychological thriller, Black Swan, is evident.

The Red Shoes is a British film that gives it a clear element of grace, class, and sophistication, perfectly enveloping the themes of love, ambition, and jealousy- the Brits do it right, and director, Michael Powell, later crafted the odd and controversial 1960 film, Peeping Tom, certain to have wholly ruined his career, brings his A-game to this 1948 work.

Decades later, Powell now is considered a genius director.

The film is laden with foreshadowing, at least a handful of times during its running time, as we meet our heroine, Vicky Page (Moira Shearer), a bright-eyed young woman with flowing red locks and aspirations of grandeur as she emerges as a fledgling ballerina in the Covent Garden area of London.

Partially due to her aristocratic upbringing and assertive and snooty aunt, she lands an audition for the ballet company, led by sophisticated Boris Lermontov (Anton Walbrook).

He is immediately enamored by her yet gives her the cold shoulder, making her question her talent. The incorporation of trains in multiple sequences is the key here.

As Lermontov and Vicky’s lives begin to intertwine, a young music student named Julian (Marius Goring) is perturbed by the plagiarism of his music by his professor, having conducted Heart of Fire under the guise of it being his work. When Julian expresses his displeasure to Lermontov, he is hired to perform with the orchestra.

The addition of Julian to the plot kicks off a compelling triangle between the three characters- their lives overlapping in a mixture of young love, passion, and jealous rage.

The action takes off even further as the film moves to the gorgeous setting of Paris and Monte Carlo, a treat for any worldly or aspiring world traveler, as the photography and cinematic angles of the lush locales are breathtaking.

As former prima ballerina, Irina Boronskaya, decides to leave the company to be married, Lermontov creates a new ballet, The Red Shoes, starring Vicky, with music composed by Julian.

This creates enormous pressure for all involved as the film takes a dark turn.

Dashes of influence surrounding the exquisite performance of the famous Swan Lake dance number heavily influenced the 1950s classic, An American in Paris.

The long, colorful, and dramatic sequence is splendid, emitting lush, vivacious music and performance. This “time out” from the heavy drama encompassing the rest of the film is beautiful and peaceful and one of the sheer highlights of The Red Shoes.

The film belongs to the dynamic between the three principal characters as each actor is spot-on and rich with flare.

Especially profound are the performances by Shearer and Walbrook, as each actor gives their respective character a perfect amount of fury, ambition, and tension, but Goring as Julian is equally worthy of mention and kudos.

I adore witnessing Moira Shearer dance as her talent and tenacity are astounding. An internationally renowned British ballet dancer and actress, the role of Vicky is perfectly carved out for her as the character must have been close to her heart.

Who can forget the most famous scene as a determined and crazed Vicky finishes her stage performance, Powell firmly holding the camera on her makeup-stained face, her blue eyes wide and hair wild?

Her look of triumph and insanity, lost in the moment, is the grand and unforgettable image seen time and again in cinema reference books.

Equal parts dramatic, romantic, eerie, lustful, and wise, The Red Shoes is a classic film made way ahead of its time, with startling visuals and treasured art and set designs, to say nothing of powerful acting and a story that compels.

No wonder this film easily influenced other masterpieces to come.

Oscar Nominations: 2 wins-Best Picture, Best Motion Picture Story, Best Scoring of a Dramatic or Comedy Picture (won), Best Art Direction-Set Decoration, Color (won), Best Film Editing