Guidebooks

Black Narcissus: Turner Classic Movies British Film Guide (British Film Guides)

Black Narcissus: Turner Classic Movies British Film Guide (British Film Guides)

Language: English

Pages: 128

ISBN: 1845110463

Format: PDF / Kindle (mobi) / ePub


Black Narcissus, now heralded as a masterpiece, is a landmark film in the influential canon of Michael Powell and Emeric Pressburger. With the centenary of Powell's birth in 2005 this timely book--the first dedicated exclusively to the film--draws on archival documents, original set drawings and stills to demonstrate its remarkable achievements, both as a production and as a vehicle for ideas. Looking at the film's enduring images of both place and gender, Sarah Street also examines Black Narcissus as a masterly technical accomplishment, as well as a meditation on the end of empire. Looking too at the film's controversial reception by international critics and censors, and its subsequent impact on experimental filmmakers, Street explores issues of technique, style, performance and interpretation to reveal the continued relevance of the film today.

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single film for a single book. Several people were very helpful in assisting me to locate material as well as sharing their ideas with me: Priya Jaikumar, Duncan Petrie, Laurie Ede, Ian Christie and Judith Priestman. Sue Friedrich and Andrea Weiss corresponded with me about their films Damned if You Don’t and A Bit of Scarlet, providing useful background information about their particular appropriations of Black Narcissus. Their films were particularly stimulating in demonstrating to me the film’s

the school or dispensary. Ruth escapes from the convent in search of Mr Dean and declares her love for him. Seeing that she is extremely agitated, he offers to take her back to the convent. She insists that she will return alone and leaves. Mr Dean does not report Ruth’s visit to Clodagh immediately because he has been drinking; back at the convent the nuns are frantic with worry about her. As Clodagh waits for news she senses that someone is watching her. She goes out to ring the bell: A wet hand

Breen’s help see that the stinky thing is stopped. I can’t see how it got past your office – if it has. Anyway, we ought to let Rank keep his “rank” pictures and take them back to England.’27 As a result of this protest the foreword to the film was changed, this time emphasising that the Anglican nuns were from ‘Protestant Orders’, renewing their vows annually.28 As it turned out, Protestant groups did not object to the film.29 In the meantime, Universal went ahead with previewing the film. Rank

by Craig McCall (Modus Operandi Films and Smoke & Mirrors Film Productions, 2000), reproduced on Criterion DVD of Black Narcissus. Cardiff also recounted this incident to Justin Bowyer in Conversations with Jack Cardiff, pp. 40–1. 38. Petrie, ‘Neo-expressionism and British Cinematography: The Work of Robert Krasker and Jack Cardiff ’, in Orr and Taxidou (eds), Post War Cinema and Modernity, p. 230 and Petrie, The British Cinematographer, p. 40. 39. Interview with Scorsese in McCall’s ‘Painting with

Maltby, Richard, ‘Censorship and Self-regulation’, in Geoffrey Nowell-Smith (ed.), The Oxford History of World Cinema (Oxford, 1996) Petley, Julian, ‘The Lost Continent’, in Charles Barr (ed.), All Our Yesterdays: 90 Years of British Cinema (London, 1998) Petrie, Duncan, The British Cinematographer (London, 1996) — ‘Neo-expressionism and British Cinematography: The Work of Robert Krasker and Jack Cardiff ’, in John Orr and Olga Taxidou (eds), Post War Cinema and Modernity (Exeter, 2000) Powell,

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