This is one of the most beautifully filmed motion pictures ever made, filled with color in describing a colorless life. It isn't their work: its where they work, high atop in the Himalayas. The young nun Deborah Kerr is made the head of this nunnery, the youngest ever in her order, and she finds a challenge in dealing with each of those under her charge. Then there's the local villagers, loyal to the Buddhist priest and upset by the infiltration of western culture. If Kerr found life with the king of Siam an ordeal, what she finds here is a key to the door to madness.The troubled nun played by Kathleen Byron gives her the most trouble, falling in love with one of the locals (David Farrar) and getting more jealous thanks to Farrar's growing friendship with Kerr, unbeknownst to Byron completely innocent. The other nuns are minor issues, although the hardworking Flora Robson finds a bit of the truth as she reveals that long forgotten feelings which she had long suppressed were coming back into her emotions.The future star of "Guys and Dolls" and "Elmer Gantry", Jean Simmons, wears dark makeup as a native Indian girl who speaks not a word but through seductive eye movements declares her list for student Sabu. He is obviously seduced by her staring at him from underneath a chair lustfully, and the temptation grows in a way that I'm surprised got past the censors.It's the wind, high altitude and smells of the Himalayas that are blamed for the sudden neuroses and psychosis that the nuns have to deal with. They all become too distracted by their inner struggles as humans which makes their vows seem impossible to fulfill. Only after the horrifying twist at the end (quite tense to be watch, especially on a big screen with this glorious color) are the nuns able to get back to their priorities. Sabu's observations about Jesus Christ taken lightly make you think too, showing that even other cultures focusing on learning more about the world around them can see the beauty in his simple words that many Christians twist into ways that turns off many others.

Actually, watching the nuns in this film cook sausages would have increased the entertainment by a factor of 37. We needed to see some sausage cooking. Nothing happens in this film. What a boring waste of time the whole experience is. Basically, some nuns take over a derelict house high in the Himalayas in an attempt to provide teaching and medicine to the local community. Does this interesting plan work? I felt a bit disappointed in that I had bought this film on the recommendation of other reviewers. So, I'm here to redress the imbalance of those who have given nothing but praise for this snorefest. The film is filled with camp, over-acting nonsense, especially from Sister Kathleen Byron (Ruth) and caretaker May Hallatt (Angu). They put this film straight into the camp comedy genre. And what a total waste of Jean Simmons - she is coloured in brown and given no dialogue! This is one film that definitely needed some explosions, a car chase and some random nudity. You know, naughty nuns, that sort of thing. Be prepared for a very slow journey with a predictable ending. If you can't guess the ending early on, then may I suggest you go and join your local nunnery as this film has clearly been too over-stimulating. You must have been gripped. My recommendation would be to definitely watch a cookery programme over this tosh. Time for some sausages.

When I reviewed Stanley Kubrick's "A Clockwork Orange", I praised Alex DeLarge's character arc for a few reasons. One of them was because it came as a surprise. When I wrote that, however, it sounded more like icing on the cake. I viewed it more as secondary. However, after watching this film, I quickly realized that surprise should be at the forefront of all character arcs. That was why I didn't care that much for this film.After 5 nuns (Sister Clodagh, Sister Briony, Sister 'Honey' Blanche, Sister Philippa, and Sister Ruth) open up a convent in the Himalayas, they encounter conflict and tension with the natives, their surroundings, and from within their own group. As they spend more time there, their conflict gradually intensifies.The film opens up with a promising start. It has great cinematography and a plot which is easy to follow. For a moment, I became intrigued by the film's plot as I wondered where it would lead to. However, that curiosity was quickly nullified. The second Mother Dorothea says the line "Yes, she's a problem. I'm afraid she'll be a problem for you too." as she refers to Ruth, my anticipation quickly faded into disappointment. At that point, I had a feeling where Ruth's character was going to head right at the start. Because I felt that, there was nothing surprising about how she ended up. I wished that her character would have started out softer. The further I got into the movie, my disappointment kept on expanding as my concerns kept on sounding more plausible. Revealing her character flaws single-handedly broke the movie down for me. Hell, even the birds eye shot of the bell tower at the edge of the cliff was enough for me to be able to predict another major aspect of the climax. However, I can at least praise Ruth's character arc for being believable.However, there are aspects to this film which make it worth watching. For instance, the cinematography. Images of the mountainous landscape are gorgeous to look at. The fact that this film was shot in Technicolor doesn't diminish its impact at all. The shots look vibrant and overwhelming. However, the architectural shots look just as fabulous as well. A wide assortment of rooms and hallways from the film look immaculate with their amusing color schemes and the layout of furniture. Artsy designs on some of the walls serve as eye candy. I felt fully immersed with the environment at all times while watching the film.Some of the shots appear menacing as well. The shot of the bell tower suspended at the edge of the cliff is enough to send chills down your spine due to the angle at which it was shot. Also, Sister Ruth's iconic crimson lipstick sends a message to the viewer that there's no turning back for her. The film also uses shadows to create a foreboding atmosphere. The scene I'm referring to comes near the end where we see Sister Ruth engulfed in shadows while wearing dark colored clothing. Sister Clodagh, on the other hand, is wearing white in that scene, and we can clearly see her. It's a simple technique, but it helps to create a foreboding atmosphere and it also gives that scene a fair amount of suspense as a result.In conclusion, this film is worth seeing for the gorgeous visuals. They look overwhelming, vibrant, and at times - foreboding. However, the visuals aren't enough to save it from its predictability throughout the film and its disappointing ending. I found this movie to be a learning experience. I got more insight on how character arcs should be handled. Even though I didn't like this film, the incredible visuals and set design interested me in checking out more of Michael Powell's filmography.

Why is it that whenever it comes to the likes of any picture with a Christian-theme (such as Black Narcissus), there never seems to be any room in its story for levity and/or light-heartiness? Eh? Why? The way I see it, if the ones who are supposedly filled with the glorious spirit of Christ are really so moved by their experience, then this, in turn, should be their time of absolute cheer & joyfulness.But, as was the case with these nuns, it was all such a dry and sobering affair that seemed like pure drudgery to me.On top of that downer, this film also feebly attempted to tackle such issues as lunatic madness and erotic fantasies which tormented these nuns, as well.If you to ask me, I thought, right from the start, that these women were quite obviously very badly adjusted to their chosen vocation as apparent servants of god. And it was because of this particular quirk that I'd say Black Narcissus pretty much stretched its plausibility-factor almost to the very breaking point.On the other hand, I will admit that the drab and daunting nature of Black Narcissus was somewhat alleviated by the lush, Technicolor treatment that its story was given.It is surprising to note that this film's exotic setting (which took place within the far-off region of the majestic Himalayas) was, in fact, all created right inside Pinewood Studios, London.*Trivia Note* - Based on Rumer Godden's 1939 novel of the same name, this film's oddball title refers, not to any poetic allusions, but, instead, to the name of a pungent aftershave (imported from England) which the young, vain, Indian prince frequently splashed all over himself.