Au risque de se perdre

I was amazed how a long, fairly slow film like this could capture and keep my attention all the way through.....but it did. This is really a quality film, as those who have seen it for years, will attest. It's so well done, in all phases, that when the two-and-a-half hours are up, you just marvel and what you've witnessed.

Anyone who has tried to live a perfect life, to please God and never offend Him with sins of any nature, knows it is impossible. It is a noble pursuit, but an exercise in futility that can lead to utter frustration. That is the dilemma we witness here in this film through the life of a well-meaning and sweet-as-can-be Belgian lady: "Gabrielle van der Mal" who is renamed "Sister Luke" after completing her training as a nun in the 1930s. Audrey Hepburn is superb as this woman, who has the greatest of spiritual intentions and a heart not only for God but to be a great nurse and follow in her father's footsteps, a famous physician in his country.

Can't she be both? The answer, of course, is "yes," but that's not the answer she receives periodically at the convent, or interprets because she's so tough on herself, and it causes great inner conflict.

Hepburn doesn't have tons of dialog in here and doesn't require it. The different looks on her face during this long story, especially when there is disappointment, are priceless. They are so subtle, but so telling. I am one who would vote for this film as Audrey's best performance, which is saying a lot.

Enjoyable as well colorful picture about a dedicated religious nurse who attempts to cure troubled people in the Belgian Congo . The melancholy tale from the Kathryn Hulme book dealing with a young missionary working as a nurse during WWII and based on the novel of the same name, that told the story of the real-life "Sister Luke," Marie-Louise Habets . Gabriella (enticing Audrey Hepburn ,the character was suggested for Ingrid Bergman but Bergman herself said she was too old for the role and instead proposed Audrey) is the daughter of an important doctor (Dean Jagger) who leaves the convent as Sister Luke . The movie has opening credits play out over street scenes of Bruges , at over 1,500 years old , one of the oldest cities in Belgium, and at one time, the most important commercial city in the world . In 1939, while the Nazi regime subjugates European Nations Graciella travels to the Belgian Congo , her assignment in the Congo is at a European hospital under the atheist eye of a doctor called Fortunai (Peter Finch). Slowly , Gabriella or Sister Luke heals ills , helps injured villagers and usually prays . But the Nazis rise to power and invade her homeland . Then , she returns Belgium , there questions her religious vocation and her moralizing comes back to haunt her .

Director Fred Zinneman struck a correct balance of fine pace and sensitivity in the mesmerizing tale of a young Belgian girl who becomes a religious missionary and is sent to the Belgian Congo to work at a hospital . Finely starred by a luminous Audrey Hepburn as a dedicated nun who subsequently comes to question her vocation , as she is struggling to reconcile her free spirit and philanthropic wishes with the religious rigors ; Hepburn chalked up another hit in this long but always interesting flick based on Kathryn Hulme's novel , being rightly adapted by screenwriter Robert Anderson . Spectacular settings and well staged scenes , in fact , members of the Rome Opera ballet corps were hired to play some of the nuns, and complex convent rituals were literally choreographed for them . This agreeable flick packs an exciting screenplay , thought-provoking drama , fine interpretations and intelligent filmmaking . It's surprising that the movie didn't achieve any of the six Academy Award for which it was nominated ; however , it won NY Film Critics to best actress and director and British Academy gave prizes to best actress and support cast . Casting is frankly well . Good acting by Audrey Hepburn as a beautiful missionary nurse who gains the trust of the locals , not only providing medical care but dealing with African people ; this was one of Audrey Hepburn's favorite of her films and it was also one of her most financially successful . Excellent Peter Finch as a good surgeon , he doesn't quite hit it off with Gabriella at first but soon starts to develop deep affections for her . Furthermore , a nice support cast formed by notorious secondaries such as Edith Evans , Peggy Ashcroft , Dean Jagger ,Beatrice Straight ,Rosalie Crutchley , Ruth White , Barbara O'Neil , Lionel Jeffries , Colleen Dewhurst and Niall MacGinnis , among others . ¨Nun's story¨ consolidated a sub-genre about nuns or religious people in far countries , going on ¨Heaven knows , Mr Allison¨ by John Huston with Robert Mitchum Deborah Kerr , ¨The Sins of Rachel Cade¨ also produced by Henry Blanke and directed by Gordon Douglas with Angie Dickinson , Roger Moore and Peter Finch , too , and ¨A Nun at the Crossroads¨ with Rosanna Schiaffino and John Richardson , among others.

Appropriate as well as sensitive musical score by the classic Franz Waxman . Glamorous and evocative cinematography by Franz Planer , though mostly filmed on real African exteriors , in fact , the film was shot on location in Rome, Bruges, Stanleyville and a real leper colony in the Congo . The motion picture well produced by Henry Blanke was stunningly directed by Fred Zinneman. This is one of various and pleasant works , some major and minor successes of his long career as a filmmaker . He was a Hollywood veteran director, directing early movies and a long career until the 80s . With ¨The nun's story¨ Zinnemann chalked another major hit in this overlong but always absorbing tale . After acquiring the rights to Kathryn Hulme's bestselling novel, Fred Zinnemann found that no one in Hollywood had any enthusiasm towards turning it into a film, citing it as being devoid of action , but all that changed when Audrey Hepburn expressed a desire to take the lead role . Rating : 8 , Above average , well worth seeing .

Perched high atop the list of the finest American movies of the 1950's, Fred Zinnemann's "The Nun's Story" is an intensely beautiful and powerful film about a woman who undergoes a crisis of faith and, through her struggle, learns the importance of finding one's true path in life. Based on the novel by Kathryn Hulme, the film tells the story of Gabrielle van der Mal, a Belgian woman who enters the convent in the 1930's, spends a brief period working as a nurse in the Congo, then leaves the order after years of intense personal struggle with herself and with God. Among American films of its time, "The Nun's Story" stands virtually alone in its ability and willingness to dramatize a conflict taking place in the deepest recesses of a character's mind and soul.

Audrey Hepburn - sans makeup and the kind of fashion-plate wardrobe that had already become the hallmark of her movie career - delivers one of her richest performances as the strong-willed and fiercely independent Sister Luke, whose very psyche is torn asunder by the battle between her own innate, personal pride and a sincere desire to live a life of obedience to the Church and its rules. With everything but her countenance hidden beneath a nun's habit, Ms. Hepburn is forced to draw on her resources as an actress, having to convey the titanic internal conflict taking place within her character almost entirely through facial expressions, vocal intonations and body language. And she proves herself more than equal to the challenge. She is brilliantly complemented by Peter Finch, playing the cynical but humane Dr. Fortunati, a dedicated surgeon who is as concerned about Sister Luke's spiritual health as her physical health. The relationship between the two is handled with a great deal of subtlety and tact, never allowing the obvious romantic attraction between the two attractive people to come too much to the fore. Rounding out the excellent cast are Dean Jagger as Gabrielle's loving and concerned father, Peggy Ashcroft and Mildred Dunnock as two older nuns who help guide Sister Luke along the way, and the incomparable Edith Evans, simply astounding as the Reverend Mother who sees unwavering devotion to God and the Church as the one and only goal of a serious nun.

Among other things, "The Nun's Story" is that rare film dealing with religion and spirituality that doesn't contain a single hokey or sentimental moment, that knows the difference between religion and religiosity, that is respectful without being unduly reverential, and that acknowledges the complexity of the human heart in matters of devotion and faith. It also is not afraid to take its time to set the scene and tell its story, never feeling the need to rush headlong into the next dramatic moment just to keep the movie going. In a perfect blending of form and content, the film is every bit as thoughtful, subtle and contemplative as its subject matter, its mood greatly enhanced by the rich and beautiful Franz Waxman score that underlines the seriousness of the work.

In addition to all its other fine virtues, "The Nun's Story" features one of the greatest final scenes and closing shots in motion picture history, a masterpiece of precision and understatement that demonstrates the kind of taste Zinnemman always displayed as a director. The movie is made up of small, beautifully observed moments that, when put together, provide a powerful glimpse into the heart and life of a fascinating, caring individual who wants to do great things in the world but who realizes that the path she has chosen is not the one that will ultimately lead her to her rightful destiny.

On every level of film-making, this is truly one of the greats.

The image of water gradually sharpens the reflections of objects above...as soon as we get to know the leading character of NUN'S STORY, it is not hard to predict that it is all going to be an involving, mesmerizing viewing experience - yet, nothing for the vast majority of audience.

In the eyes of her father, Dr Van Der Mal (Dean Jagger), our protagonist - young Gabrielle (Audrey Hepburn) is not really a strong willed girl obedient to the bells. Perhaps he sees other future for her. However, she makes up her mind to resign from engagement with one Jean and sacrifice her life for interior and exterior silence, for the detachment of worldly goods, for obedience and penance doing good and disappearing for the sake of the Kingdom of God. Although she manages to go through the agonies of various inner struggles and tests, will she be able to exercise and bring into action the spirit of charity for all, to face Christianity's hardest obedience - forgive everyone, all evil-doers for anything harmful done to them or their beloved ones?

The truest merit of Fred Zinneman's movie, at first sight, seems to lie in the execution of the storyline (the film's literary source is the book by Kathryn Hulme). It is, as the title implies, a nun's story not so much supplied with laughable aspects (as it is the case with a number of movies nowadays) but a very insightful, thought provoking depiction of virtues enforced and exercised behind the 'bars' of the convent. With this in mind, we deservedly prepare for an excellent glimpse of the atmospheric mystique, for prayers, hymns clothed in unearthly tunes of sublime music. Here, great credit goes not only to the cinematographer Franz Planer, a winner at Academy Awards, who supplies us with cinematographic pearls, including the tremendously effective shots of interior silence of the specific place, but also to Franz Waxman for his brilliantly atmospheric, accurate and vibrant music score. He memorably incorporates certain tunes derived from almost 'iconic' chants to particular scenes. In this way, the score sets the right tone for the story, changes and controls the moods of various scenes. That refers to such pieces of music as 'Salve Regina' and 'Veni Creator Spiritus' - milestones of Christian music.

However, the greatest praise is not deservedly directed towards the crew members, even to the director Fred Zinneman but to Audrey Hepburn in the lead. It seems quite obvious that not every actress can play a nun convincingly. Simply because we, as viewers with certain background experiences (both visual and conceptual), are heavily influenced by certain expectations, even clichéd expectations. In that respect, Ms Hepburn really meets our expectations...more to say, she makes for a perfect portrayal of a nun. There is a combination of certainty and doubt, subtlety and strictness in her face and her entire portrayal, which makes her character easily empathized with. Because the gist that lies behind the fact who Gabrielle/Sister Lukas really is appears to be underlined in her struggles to learn obedience and humility. These virtues that are so memorably and timelessly revealed in Culpa and Penance evoke in her performance. Ms Hepburn portrays a very human character, a very gentle young girl, a subtle nun and a dedicated nurse. Simply a superb performance! A sophisticated portrayal! She is funny at times (mind you the lovely scene with little Felix) and genuinely dramatic when the moment requires that perfectly switching from one bunch of emotions to another. If I were to name her best scenes, I think that task would be quite impossible. I would highlight some of her most memorable scenes, which include the entrance to the convent, the Congo sequence, her collaboration with Dr Fortunati (Peter Finch) vs. the scenes with her father.

The aforementioned Congo sequence belongs to the true pearls among the color films of the late 1950s. Authentic, beautiful shots of nature and landscape, the gloomy scene on the isle of the lepers along with the haunting score long lasts in the memory of a viewer. The film is worth viewing, apart from Ms Hepburn masterful achievement, for the sequence alone.

The supporting cast include some solid performances from Peter Finch as choleric but caring Dr Fortunati, Dean Jagger as wonderful Dr Von Der Mal, Gabrielle's father (what a brilliant father that is who says: "I don't want to be proud of you; I want you to be happy!") and the sisters are uniquely memorable (you will never mix the characters due to their specific features underlined): Peggy Ashcroft as Mother Mathilde, Edith Evans as Mother Emmanuel, Rosalie Crutchley (note Acte from QUO VADIS) as Sister Eleanor. They are recognizable.

Finally, let me quote Bosley Crowther, the New York Times reviewer, who said about the film: "Mr. Zinnemann has made this off-beat drama describe a parabola of spiritual afflatus and deflation that ends in a strange sort of defeat. For the evident point of this experience is that a woman gains but also loses her soul, spends and exhausts her devotion to an ideal she finds she cannot hold."

But what is superior in one's life? Blind obedience to an ideal or being true to oneself? Where are we in that dilemma? Where is our protagonist? What does the final drama indicate? Greater torments or relief? She turns right as she leaves so perhaps...

Dare accuse yourself of seeing it critically but let yourself see it and think. Although the movie is more than half a century old, it has not lost its charm and entertainment along with all the dilemmas herein incorporated. Worth viewing as not only a nun's story but a person's drama.

Eight Oscar nomination, five Golden Globe nominations, and five BAFTA nominations, with a win for Audrey Hepburn for Best British Actress indicates that this was one of the best films of 1959. Unfortunately, it had to go up against Ben Hur for most awards. That doesn't take a bit from it's excellence and entertainment value.

This is an utterly fascinating story of a young nun (Audrey Hepburn), and a non-believing doctor (Peter Finch). Sister Luke (Hepburn) is constantly challenged in sticking to her vows, especially the one of obedience.

She chaffed at the rules that did not leave room for common sense. Is it better to strictly obey or to do more good in disobedience? It is a question asked over and over.

Things become more difficult as WWII starts. Now, the rules must be set aside to help the war effort. Eventually, the conflict between the rules and her need for independence is resolved.

Hepburn was fantastic, as was Finch. Well worth seeing.