Gabriele Van Der Maal (Audrey Hepburn) is a head-strong Belgian girl who decides to become a Nun, despite the protests of her surgeon father (Dean Jagger). Gabriele finds her work challenging in the extreme; in order to be successful, she must suppress her individuality, all of her thoughts, memories and desires, and sublimate herself to a collective worship and service of God. As Sister Luke, she works in an insane asylum, a hospital in the Congo, and in a military hospital during World War II. Despite her best efforts, Gabriele struggles to sublimate her personality and pride, but finds herself increasingly unable to do so. Although she becomes acclaimed as a selfless, hard-working nurse, she realizes the truth of her Mother Superior (Edith Evans)' dictum: "You can cheat your sisters, but you can't cheat yourself - or God!"
"The Nun's Story" is a profound, deep and intelligent film. It deals thoughtfully with a difficult subject: What does it mean to become a Nun, to sacrifice your life to religion? Fred Zinneman's handsome, thoughtful film addresses this question in a forthright, honest manner, without passing any judgment on the Catholic Church or the lead character. It also contains the greatest performance of Audrey Hepburn's career, by far.
Nuns haven't had a very good track record on film. The most egregious are films like, say, Sister Act or The Sound of Music, which depict Nuns as clownish figures, repressed women who just want to have a good time, ride motorcycles, sing, dance or, God help us, fly. Even more serious explorations of the theme (Black Narcissus, The Bells of St. Mary's) are largely tainted with an outsider view of Catholicism, and tend to idealize or damn it. Even worse, a seemingly never-ending chain of Hollywood films and TV shows seems grimly determined to convince us that religion is a sham, and religious people are inherently evil - murderers, pedophiles, or hypocrites.
"The Nun's Story" doesn't. Its depiction of the Catholic Church is remarkably uncritical, yet neither is it an endorsement. It is an incredibly frank exploration of Catholicism, and specifically Nunnery. The early scenes showing the Nuns' training makes it clear that being a Nun isn't something people do for fun - it's serious, hard work. In order to become a Nun, one must strive for perfection, sublimate individuality, recognize and criticize even the tiniest faults - and shed all vestiges of their previous life. One can't even talk without permission, or express their private thoughts or feelings - except to condemn them as fault or sin. Only the most devoted, strong-willed women can achieve this without bowing out or losing their sanity; and it's unlikely that they'll be singing and dancing with Whoopi Goldberg any time soon.
This process proves exceedingly difficult for Gabriele, who is a headstrong, proud and intelligent girl. At first, she willingly tackles being a Nun as a challenge; we never learn why she decided to become a Nun (unhappy family life? Personal problems? A sense of religious duty or calling?), but it's not all that important. It isn't long, however, before Gabriele's faults begin to surface. In the ultra-repressive and controlled environment of the Monastery, Gabriele finds herself increasingly critical of and disgusted in herself. The movie reaches an early climax when one of Sister Luke's mothers (Ruth White) suggests that she deliberately fail a medical exam in order to assuage feelings of pride and guilt. This provides an agonizing conflict: a viewer might reasonably ask whether it's right to ask a Nun to be dishonest, which might be a bigger flaw than pride.
But even as Sister Luke becomes an exemplary nurse, she finds herself unable to sublimate herself to the Church. She is nearly killed when she gives water to an asylum patient (Colleen Dewhurst) without permission. She becomes more and more independent in the Congo, taking initiative without her Mothers' knowledge and developing an attraction towards the handsome Dr. Fortunati (Peter Finch). She sees all of these as faults, even when her superiors don't. Her Mothers and Sisters are supportive and understanding, recognizing Sister Luke's virtues and skill - but she can only see the flaws. World War II provides the final straw; when her family and countrymen are being slaughtered by the Nazis, how can she possibly remain impartial? It's impossible to say Sister Luke isn't a strong woman, but her inability to see her strengths is her fatal flaw.
Fred Zinneman's direction, as usual, is handsome and at times beautiful. As in other works, his straightforward directorial style lets the actors, sets and locations do the work. Robert Anderson's script gives intelligent dialog and well-rounded, sensitive characters, avoiding the stereotypes and clichés of religious films, condemning neither the Catholic Church nor our flawed protagonist. Franz Planer provides gorgeous cinematography, particularly in the Congo scenes, and Franz Waxman gives a beautiful score.
Audrey Hepburn's performance is simply remarkable. Shedding her trademark uber-chic Givenchy costumes and lacking make-up, she lets her true beauty shine through. The device of letting us see only her face through her habit has a remarkably powerful pay-off. But more than this, Hepburn perfectly portrays the anguish and emotional conflict of Sister Luke; her expressive face alone conveys more than ten pages of screenplay. Anyone doubting Audrey's acting ability absolutely has to see her performance here; it's a revelation. The supporting cast includes fine performances from Peter Finch, Dean Jagger, Edith Evans, Peggy Ashcroft, Niall McInnes, and Colleen Dewhurst, complementing Hepburn's performance and creating well-rounded characters of their own.
The Nun's Story is simply remarkable. Few other films are as honest about religion; and, truth be told, few are as intelligent, well-rounded and thought-provoking period. It is a masterpiece.
10/10
"The Nun's Story" is a profound, deep and intelligent film. It deals thoughtfully with a difficult subject: What does it mean to become a Nun, to sacrifice your life to religion? Fred Zinneman's handsome, thoughtful film addresses this question in a forthright, honest manner, without passing any judgment on the Catholic Church or the lead character. It also contains the greatest performance of Audrey Hepburn's career, by far.
Nuns haven't had a very good track record on film. The most egregious are films like, say, Sister Act or The Sound of Music, which depict Nuns as clownish figures, repressed women who just want to have a good time, ride motorcycles, sing, dance or, God help us, fly. Even more serious explorations of the theme (Black Narcissus, The Bells of St. Mary's) are largely tainted with an outsider view of Catholicism, and tend to idealize or damn it. Even worse, a seemingly never-ending chain of Hollywood films and TV shows seems grimly determined to convince us that religion is a sham, and religious people are inherently evil - murderers, pedophiles, or hypocrites.
"The Nun's Story" doesn't. Its depiction of the Catholic Church is remarkably uncritical, yet neither is it an endorsement. It is an incredibly frank exploration of Catholicism, and specifically Nunnery. The early scenes showing the Nuns' training makes it clear that being a Nun isn't something people do for fun - it's serious, hard work. In order to become a Nun, one must strive for perfection, sublimate individuality, recognize and criticize even the tiniest faults - and shed all vestiges of their previous life. One can't even talk without permission, or express their private thoughts or feelings - except to condemn them as fault or sin. Only the most devoted, strong-willed women can achieve this without bowing out or losing their sanity; and it's unlikely that they'll be singing and dancing with Whoopi Goldberg any time soon.
This process proves exceedingly difficult for Gabriele, who is a headstrong, proud and intelligent girl. At first, she willingly tackles being a Nun as a challenge; we never learn why she decided to become a Nun (unhappy family life? Personal problems? A sense of religious duty or calling?), but it's not all that important. It isn't long, however, before Gabriele's faults begin to surface. In the ultra-repressive and controlled environment of the Monastery, Gabriele finds herself increasingly critical of and disgusted in herself. The movie reaches an early climax when one of Sister Luke's mothers (Ruth White) suggests that she deliberately fail a medical exam in order to assuage feelings of pride and guilt. This provides an agonizing conflict: a viewer might reasonably ask whether it's right to ask a Nun to be dishonest, which might be a bigger flaw than pride.
But even as Sister Luke becomes an exemplary nurse, she finds herself unable to sublimate herself to the Church. She is nearly killed when she gives water to an asylum patient (Colleen Dewhurst) without permission. She becomes more and more independent in the Congo, taking initiative without her Mothers' knowledge and developing an attraction towards the handsome Dr. Fortunati (Peter Finch). She sees all of these as faults, even when her superiors don't. Her Mothers and Sisters are supportive and understanding, recognizing Sister Luke's virtues and skill - but she can only see the flaws. World War II provides the final straw; when her family and countrymen are being slaughtered by the Nazis, how can she possibly remain impartial? It's impossible to say Sister Luke isn't a strong woman, but her inability to see her strengths is her fatal flaw.
Fred Zinneman's direction, as usual, is handsome and at times beautiful. As in other works, his straightforward directorial style lets the actors, sets and locations do the work. Robert Anderson's script gives intelligent dialog and well-rounded, sensitive characters, avoiding the stereotypes and clichés of religious films, condemning neither the Catholic Church nor our flawed protagonist. Franz Planer provides gorgeous cinematography, particularly in the Congo scenes, and Franz Waxman gives a beautiful score.
Audrey Hepburn's performance is simply remarkable. Shedding her trademark uber-chic Givenchy costumes and lacking make-up, she lets her true beauty shine through. The device of letting us see only her face through her habit has a remarkably powerful pay-off. But more than this, Hepburn perfectly portrays the anguish and emotional conflict of Sister Luke; her expressive face alone conveys more than ten pages of screenplay. Anyone doubting Audrey's acting ability absolutely has to see her performance here; it's a revelation. The supporting cast includes fine performances from Peter Finch, Dean Jagger, Edith Evans, Peggy Ashcroft, Niall McInnes, and Colleen Dewhurst, complementing Hepburn's performance and creating well-rounded characters of their own.
The Nun's Story is simply remarkable. Few other films are as honest about religion; and, truth be told, few are as intelligent, well-rounded and thought-provoking period. It is a masterpiece.
10/10