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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.

This is my all-time favorite film. A lovely romantic love story with Helen Hayes & Clark Gable. It is not on video so, your only chance to see it is if you get TCM (Turner Classic Movies). They sometimes air it. If it is on...be sure to catch it!

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.

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.

This version of The White Sister is the third and final one to date that was brought to the big screen. This old fashioned drama with heavy religious overtones is not a likely candidate for a modern remake.

It's that second version that is the most known. Shot in Italy in 1923 it was the breakout picture for Ronald Colman as he starred with Lillian Gish and a cast of Italian players because the film was shot on location in Italy, a very unusual thing for the time.

In the Citadel Film Series book the Films of Ronald Colman, it was mentioned that Colman had a swarthy complexion and that was why this erudite man of the English speaking language was cast in the film. The same could be said for the casting of Clark Gable as the male lead opposite Helen Hayes in this sound version.

The story was updated from the 19th century and the Italian colonial wars in Libya to World War I. Gable is an air ace in the Italian Air Corps and he meets Helen Hayes who is the daughter of the local nobleman Lewis Stone. He's got an arranged marriage with wealthy Alan Edwards who will help this noble, but impoverished family out of debt. But Helen wants Clark after spending a little time with him.

But fates just keep them apart, especially after Lewis Stone is killed in an automobile crash and Gable goes off to World War I. Other than the updating of the time of the story and the elimination of a sister for Hayes, if you've seen the Colman-Gish silent version you know what happens here.

Someone like Tyrone Power who was a few years away from breaking into stardom at another studio would have been far better at handling the mushy romantic dialog. Certainly Ronald Colman might have done well with it even though he was British to the core. Gable is too American for the part though he does his best with it. The female lead is very suitable to Helen Hayes, especially with her Catholic background.

Fans of Clark Gable will still like The White Sister, but it will never be rated among his better films.