La soeur blanche

I guess if you are someone who really gets off on crying at the movies then you'll enjoy this outpouring of sentimental slop. But for the vast legions of the relatively dry (and clear) eyed it's fairly insufferable stuff. Plus, it features one of my all time least favorite actresses in the lead. I realize that Ms. Hayes is considered a brilliant theatre thesp, and maybe she was, but to watch her in sound films is to watch someone who might as well have a bumper sticker on her limo that reads "I'd rather Be Doing Silent Pics". I guess if I had a voice that sounds like Gracie Allen I'd feel the same way. Add complete and utter lack of chem between her and Gable and you can see how this movie quickly descends into boredom and is only briefly lifted out of the ennui pit by some good aerial battle action that, alas, is too little and way too late. C minus.

PS...Hayes, Gable and Lewis Stone are about as Italian as the 4th of July in Indianapolis.

Uggh! Apart from the wonderful acting of Helen Hayes and Clark Gable, this is a very silly and forgettable romance. Clark plays a young soldier than falls for a princess. They know that their love is doomed due to the difference in their social status, but despite everything their love seems unavoidable. Later, when she thinks Gable dies, she drops everything to become a,....NUN!!! Then, when Gable returns it is too late,...she's married to God and cannot renounce her vows (though exactly WHY I couldn't figure out). If you haven't guessed, the plot just seems really hokey and silly. And, unfortunately, it is just that and nothing more. I only recommend it for fans of Hollywood's Golden Age and Clark Gable. All others, I'm afraid, will see it and be turned off older movies and that would be a shame.

By the way, this is a remake of a silent film which starred Lillian Gish and Ronald Coleman. In many ways, the film was better than this 1933 remake and the old fashioned plot seems more suited for a silent.

Over the top melodrama isn't a bad antique but it is an antique.

Overwrought emotions dominate from almost the first frame and only become more hard to swallow as the picture unspools.

Part of the problem lies with Helen Hayes. Perhaps it's partially my own perception having become familiar with her when she had moved into her highly entertaining old lady phase but she seems too old for her part or her pairing with Clark Gable. It doesn't help that she was never completely comfortable on the screen in her youth relying on stage techniques that don't translate well to the movie screen. Her method and Gable's do not mesh and while she's playing to the back row he is his usual low key self, they share little chemistry.

The film has its moments and a decent supporting cast but the lack of rapport between the two leads in what is basically a story of great unrequited love makes this a struggle to get through at times.

THE WHITE SISTER (Metro-Goldwyn-Mayer, 1933), directed by Victor Fleming, stars Helen Hayes and Clark Gable for the first and only time (not counting separate scenes for the same movie titled NIGHT FLIGHT (1933) starring John and Lionel Barrymore). Based on the 1909 novel by F. Marion Crawford and dramatized by Walter Hackett, THE WHITE SISTER was used as the basis of two earlier silent screen treatments (Essanay, 1915) with Viola Allen and Richard Travers; and more famously (Metro, 1923) starring Lillian Gish and Ronald Colman. This 105 minute adaptation for the screen by Donald Ogden Stewart updates the story to the World War but remains true to form with material from which it is based.

Set in Italy, Angela Chiarmonte (Helen Hayes) is introduced as a religious woman whose closest friend is her parish priest, Father Saracinesca (Edward Arnold). Her father is Prince Guido (Lewis Stone). She is engaged to Ernesto Traversi (Alan Edwards), a man of her father's choosing. During the church festival, Angela's limousine is rear-ended by a car full of soldiers driven by Giovanni Severi (Clark Gable), who takes an immediate interest in her. After meeting him again at the carnival, Angela goes againstthe wishes of her her caretaker/companion, Mina (Louise Closser Hale) by spending time with this young soldier. After his visit to her home, and six days before her marriage to Ernesto, Angela and Giovanni are caught kissing by her father. With Giovanni forced to leave, Angela argues the fact she loves this soldier and refuses to marry a man she does not love. Not wanting Angela to suffer the same fate as his late wife, Guido follows Angela to the officer's club where she is to meet Giovanni, only to be killed in a car accident which leaves Angela in a state of shock. Only after Angela resumes her love with Giovanni, he is called off to war with hope of marriage upon his return. Receiving word of Giovanni killed in action, Angela chooses a new life by becoming a nun. With Giovanni having survived injuries and three years in prison camp, he makes his escape, searching for Angela, unaware she has already taken her final vows. Featuring May Robson (The Mother Superior); Nat Pendleton, Inez Palage and Gino Corrado in smaller roles.

Having first seen THE WHITE SISTER on New York City's WNEW, Channel 5 in 1970, aside from getting to see a much younger Helen Hayes, whose performance in AIRPORT (Universal, 1970) stole the show from it's all-star cast (winning an Academy Award as Best Supporting Actress), I was unaware this premise had been done twice before, making this one of the many sound remakes of material done during the silent film era. Regardless of American actors playing Italian characters, Helen Hayes and Clark Gable (with mustache) are believable enough to overlook these obstacles which thankfully did not have them attempt Italian accents. Memorable moments include behind the scenes in the nunnery with Angela taking vows to the supreme sacrifice for her love to the church and God. Though not strictly a religious movie, it's a love story bearing a religious theme. Tastefully done, well directed and acted by its principal players make this worth seeing.

Reportedly a success in 1933, THE WHITE SISTER never got home video distribution, but did become available on DVD with second disc being the 143 minute Lillian Gish edition, as well as occasional broadcasts on Turner Classic Movies cable channel. (***)

One of the reviews on this site talks about the good old days when, if you wanted to see a film, you had to set your alarm for 3 a.m., or stay up past 11 p.m. in order to see it. And most of the time, five minutes into it, you fell asleep.

"White Sister" is a remake of a film starring Lillian Gish and Ronald Coleman. Studios often did this, making one an A-film, and remaking it as a B-film. I am thinking this was a B film since I don't think Clark Gable had quite made it big yet; he was still being "groomed." Helen Hayes, of course, was from the stage, and while she made some films, she never became a superstar.

Hayes plays Angela, the daughter of a Prince (Lewis Stone). She is betrothed to a banker, Ernesto Traversi. He's boring; Angela has a lot of verve and is interested in fun, as young people are.

She meets Lt. Giovanni Severi (Gable) at a carnival, and they fall in love. When she tells her father, he is furious. Angela rushes to Giovanni's barracks, but he isn't there; she is sent to the Officer's Club. Meanwhile, her father had the same idea and is en route to the barracks when the cars crash, and her father is killed. Angela is injured.

She feels terribly guilty and, at any rate, she can't marry him while she is in mourning. He goes into battle, and it seems that he has been killed.

Devastated, Angela enters a convent and takes her vows as a nun.

Some time passes, and it turns out that Giovanni escaped from a prison camp and is being cared for on a farm. With his captors on his trail, he takes off and eventually gets home and goes looking for Angela.

This is a well-acted story, schlocky by today's standards, but still moving. I think it's because of the sincerity of the performances. Helen Hayes as a young woman was pretty. I notice she was never photographed full face, perhaps because her eyes were so far apart. I'm just guessing.

One would think that by today's standards, the acting would be melodramatic and seem over the top, but it doesn't. Hayes was a great actress - today there is a theater, a hospital, and an award named for her. She gives a lovely performance, soft and fragile.

Clark Gable here is young and handsome and does a solid job. He isn't smooth like Ronald Colman; he has a toughness and a ruggedness that would serve him well over his career.

I really enjoyed the movie. It has a sweetness about it not found in today's films.