Une histoire de Chine

William Holden (looking disinterested) and fey Clifton Webb are priests in the 1940s serving at a Chinese mission and being terrorized by the Red Chinese Army. Holden is actually being terrorized in another way as well--by twinkling servant Frances Nuyen, who's anxious to snuggle up to the heavy-sighing Man of the Cloth. Director Leo McCarey helmed this adaptation of Pearl Buck's novel as either a comedy-drama or as a drama with a comedic undermining (I'm not sure which, as the tone of the film strays all over the place). There are Communist takeover sequences such as the crucifix thrown on the fire which should be harrowing, but McCarey directs it thoughtlessly, cartoonishly. We never really fear for Holden or Webb's safety because the direction is so dispassionate (and Holden is so laconic) that fear seems nearly unwarranted. I actually found the Nuyen-seducing-Holden scenes more tasteless than the violence, and the pat conclusion is tacked on for silly relief--but by then the viewer has no idea where to stand emotionally with "Satan Never Sleeps". It's a curiosity, but not a particularly good example of one. ** from ****

William Holden and Clifton Webb star in "Satan Never Sleeps," a 1962 drama also starring France Nuyen. It's directed by Leo McCarey - it's his last film.

The story concerns a priest, Father O'Banion (William Holden) who comes to a mission in China to relieve an elderly priest, Father Bovard (Clifton Webb). A young girl, Siu Lan (Nuyen) is in love with O'Banion and has followed him. The Communists seize the mission, and the leader rapes Siu Lan, who becomes pregnant. The priests have to make an effort to flee China before it becomes too late.

Beautiful scenery is the highlight of this rather slow-moving story, as well as the beauty of young France Nuyen, who plays her part very well. Clifton Webb, as usual, does an excellent job as a tired old priest who is seeing his efforts at Christianity being rubbed out by the Communists, the leader being one of the boys he taught. Holden makes a handsome priest, but let's face it, there was never really anything very priestly about William Holden. One can never imagine such a man being celibate, which is probably why Siu Lan was following him all over the place.

There is a major personality change toward the end of this movie that really renders it foolish - not that such a thing couldn't happen, but not in that short period of time.

"Satan Never Sleeps" is not up to the standards of Leo McCarey, whose 43-year-career included "The Awful Truth," "Bells of St. Mary's" and "Going My Way." There are some good scenes, though, and the actors are likable.

William Holden and Clifton Webb make an engaging pair of priests in China at the time of the 1949 Communist take-over.

Since Holden arrives late to replace Webb at the mission, the latter isn't able to get out in time as the Communist forces invade.

This is a story of how 2 different priests in the way of Crosby and Fitzgerald in "Going My Way" come to know one another under such adverse conditions.

The film succeeds due to its depiction of the eventual disillusionment towards Communism of a Chinese person who almost became a priest before being totally brainwashed by the Red system.

France Nuyen is absolutely wonderful as the young girl, who is saved by the Holden character and refuses to leave him. There is definitely a comic take to this fine film as Priest Webb will eventually think that her unborn child is that of Father O'Banion (Holden)

The film shows how the Communists would go to any length, including murder to get their point across. It shows how individual thought is done away with under the Communist system.

Passably entertaining, but often unconvincing, silly, and down-right hokey, Leo McCarey's film of Pearl S. Buck's original screenplay "China Story," "Satan Never Sleeps" takes place during the Communist takeover of China in the late 1940's. Possibly seeking to replicate his success with the Oscar-winning "Going My Way," McCarey tackles the story of a younger priest sent to relieve an aging priest at a remote Chinese mission. However, the charming conflict between Bing Crosby and Barry Fitzgerald is beyond the reach of William Holden and Clifton Webb. Although Webb, in his final screen role, is quite good as crusty Father Bovard, Holden as Father O'Banion is uneven, and neither actor benefits from France Nuyen's annoying presence. The French-Vietnamese Nuyen's Siu Lan, a young Chinese girl with an obsession for Holden, mugs and grins like a schoolgirl in a childish performance that undercuts the film's moral core. Not only does Siu Lan moon over a man obviously twice her age, but she ignores his priestly vows and even suggests he switch religions to attain her goal. The lack of candor between O'Banion and Bovard with regard to Siu Lan's intentions is puzzling, given that the elder priest would have been O'Banion's confessor, and the entire situation could have been cleared at the outset.

The script by Claude Binyon and McCarey himself simplifies Communism and the Chinese Civil War; rather than explore issues and motivations in historical context, the film uses blatant propaganda to paint a good-versus-evil, black-and-white portrait of the period. The propagandist approach was likely Buck's, because she had been refused entry to China during this period. Helming his last film, McCarey directs with a heavy hand and cannot decide between light comedy, tragedy, and political drama; the film abruptly weaves between various moods and succeeds at none. Although poor rear projection and obvious painted backdrops mark the image, Oswald Morris's impressive cinematography captures the Welsh locations that convincingly stand in for rural China.

Marred by a simplistic political backdrop, an unconvincing dynamic between the two priests, and a performance by France Nuyen that grates like fingernails on a blackboard, "Satan Never Sleeps" is not worthy to be the swan song of two cinematic talents: Leo McCarey and Clifton Webb. Both are better remembered for their classics from the 1930's and 1940's. While Holden survived the film to give some remarkable performances in the following decades, Nuyen was relegated to minor roles, principally in television series. Unfortunately, this film is not a high point on any participant's resume.

This film is a living testimony to the fact that the messages sent in a movie do matter, not only socially, but also to the quality of the film it's self. In other words, just because a movie has good production value and acting does not make it a great film (e.g. Pulp Fiction, in my humble opinion) I know what I just said is not politically correct, but try reconciling the events in this movie with your emotions afterwards and I'm sure you will agree. Over all this is a wonderful film, very well directed by award winning comedic impresario Leo McCarey (An Affair To Remember, Going My Way, Duck Soup, and many others). Fantastic scenery and cinematography, solid acting all around, well... Holden is okay I guess, but I've never been a huge fan of his. Every one else, even the unknown Weaver Lee as the communist Colonel Ho San gives a strong performance, but the message of the film is unforgivable. This could have been a classic if it had a better storyline. France Nuyen (South Pacific) is spectacular. I found her every bit as appealing as any sex symbol, including the 3M's (I.E.) Monroe, Margret, Mansfield. If any woman could make a man forsake the priesthood, she was it (WOW!) The movie is worth watching just for her. But, back to my point, the messages sent in the film are so disturbing, it is no wonder no one has ever heard of it.

WARNING! THIS PARAGRAPH CONTAINS SPOILERS.

The villain in the story, Ho San, is an ex catholic turned communist that is now persecuting the mission that cared for him and his family. He rapes Siu Lan (France Nuyen), orders the destruction and desecration of the church and even is responsible for his own parents being shot for saving a crucifix from a fire. And his comeuppance for these atrocities? He gets the girl (the one he raped) and escapes to communist free Hong Kong. It makes it impossible to like this film.

I suppose Satin Never Sleeps could develop a cult following among communist rapists, but I'm not sure how large that market is. Actually, come to think of it, this film may well have a future.