Mère Jeanne des anges

In what could be viewed as a sequel to Ken Russell's The Devils (1970), Jerzy Kawalerowicz's bleak but brilliant drama tells the infamous story of the so-called 'Loudon Possessions', in which a convent of nuns were said to have been possessed by a variety of demons, seducing men and indulging in sinful activities while the Church sent priests to exorcise them. It resulted in the death of French Catholic priest Urbain Grandier, who was burned at the stake after suggestions were made that he had succumbed to evil himself, forging a 'diabolical pact' that bound his soul to the Devil. It's an event that has caught the imagination of many artists, including the aforementioned Russell, as well as Aldous Huxley. but never has it been portrayed with such terrifying foreboding as in Mother Joan of the Angels.

Father Suryn (Mieczyslaw Voit) is sent to a Polish convent in the seventeenth century, where talk amongst the sparse townsfolk are of the wicked acts committed by the nuns of the convent that looms over the town like a ghost. At the head of this apparent possession is Mother Joan (Lucyna Winnicka), who tells Suryn of the fate of the previous priest, whose charred remains still lie at the burning post. Suryn is so horrified by what he sees as the purest of evils that he promises to rid Joan of her affliction, even if it is at the expense of his own soul, becoming a martyr in the fight against Satan's influence.

The picture is black and white and the cinematography is dark and empty, capturing the hopelessness of this small, insignificant and nameless town. It resembles the minimalistic work of Ingmar Bergman and Carl Theodor Dreyer, and shares many of the conflicted representations of religion that frequented the auteur's back catalogue. The film occasionally branches out into horror, with close-ups and shadows used to powerful effect as Satan's influence creeps into Suryn's soul, leading him to reach out in desperation to a rabbi in what is one of the film's most powerful scenes. It's also a twisted love story between Joan and Suryn, transcending mere desire into something deeper and unspoken. Complex and courageous, Kawalerowicz's film will most likely always be overshadowed by Russell's more provocative work, but this is one of the finest works to come out of 60's Poland.

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This has nothing to do with the reality of the so called devils of Loudun and the case of the local vicar Urbain Grandier and his conflict with Cardinal Richelieu, eventually leading to his burning at the stake. This is an entirely Polish paraphrase on the phenomenon set somewhere in the wilderness in an apocalyptic landscape of desolation with no trees, no music except monastic monodies, sterile surroundings and a bleak environment, like changing the whole situation into some dark medieval times. Instead, this is a thoroughly stylistic film using the obsession of the nuns for ballet-like performances of striking cinematography and efficient beauty, while there is no actual story here. A young priest comes to the convent of the nuns to do something about their obsessions, which he ultimately fails in, as he himself becomes infatuated with the beautiful abbess mother Joan, who dominates the entire film. A previous priest has been burnt at the stake for being alleged to have seduced the nuns and caused their obsession, here is the one parallel to the case of Urbain Grandier, but all the rest is Polish conjecture. The film is worth seeing for its stylistic treats, but there has never been made any correct or convincing film of what really happened at Loudun. The only one who has tried to investigate the case thoroughly, as far as I know, was Aldous Huxley.

This movie is a about a priest that comes to a small village to help in the exorcism of mother superior that is possessed by the 8 demons.

Camera: Everything looks fine and is sharp black and white pictures.

Characters: You do not really get any insight in any of the characters except the tormented priest that are there to save mother superior. You never feel any anguish or anything from all the possessed nuns. All the nuns are just happy. I am not sure it the village people at the inn was meant to seem like they were possessed too or just plain demented.

Story: Sorry to say but there was indeed very little of it. Most of the movie was spend watching people that did not tell what happened prior to the movie or moving the story along. Rest of the time was spend following the priest and his doubt in himself and his ability to save mother superior. The exorcism part was fine though but was never followed up on or commented on. The movie may approach some theological issues that could be interesting, but nothing that had not been seen or done better already in 1961.

Classification: Drama | Horror | Mystery - I am quite puzzled why this movie is classified as horror and mystery. There is no horror at all. Mystery I am not really understanding either as the movie do nothing really to tell what happened before and what is now going on. It is a pure drama following the priest

Verdict: Good idea but too long and unfocused. At least half an hour too long. In the end i felt they gave a solution to the priests troubled mind but not any story about the events there. If all being possessed by the devil means for a nun that she is happy singing and dancing then let us all be possessed to make a better world.

If you love old European movies about self doubt and finding yourself and god this may be the movie for you. Otherwise my recommendation is skip it.

A slow-burn horror for the imagination, atmospheric and superbly acted, the players get more expression from their eyes than I've seen in any film since the silent days. Yet the voices of the 'devils' as they speak through Mother Joanna are all scarily differentiated. A great setting, empty and expressionist, which I believe was a rubbish tip or an old quarry near Lodz. The convent set was, like Black Narcissus, entirely a studio construction. I can't remember the last time I saw such crisp pellucid black and white photography. In plot terms, this is a sequel to Ken Russell's The Devils, near the beginning we see the stake where Grandier (his name changed to something a bit more Polish-sounding) had been burnt. There are no more burnings in this film, but the shadow of the stake overhangs the action, underlining that even when a story ends, the characters go on. As they will go on in your mind after you've watched this film. You'll talk about it - What will happen to them next?

Religion is control on what makes us human and in touch with nature. Is control on our bodies and to deny it what he craves. At least that's what the extreme one want to accomplish.

To most blatant theatrical show was the exorcism in the church where all the nuns put on the show in front of the clergymen...all for the purpose of indoctrinate the live spectators but also the ones in the movie theaters. This is what religion is. The fight between good and evil sprinkled with some fear of death and oblivion.

But in this film it's all about desire and sexuality. About man and woman and the forever war between them. All because the need to repress your most true desires.

Good thing I moved on to this fantastic part of humanity and have chosen the scientific method. I feel it's more part of myself than divinity.