The Nun’s Story

Tags

1950's, Audrey Hepburn, Beatrice Straight, Colleen Dewhurst, Dean Jagger, Drama, Edith Evans, Fred Zinnemann, Mildred Dunnock, Peggy Ashcroft, Peter Finch, The Nun's Story

Film Title

The Nun’s Story

Director

Fred Zinnemann

Starring

• Audrey Hepburn as Gabrielle van der Mal / Sister Luke
• Peter Finch as Dr. Fortunati
• Edith Evans as Reverend Mother Emmanuel
• Peggy Ashcroft as Mother Mathilde
• Mildred Dunnock as Sister Margharita
• Beatrice Straight as Mother Christophe
• Dean Jagger as Dr. van der Mal
• Colleen Dewhurst as Archangel Gabriel

A beautifully restrained yet quietly revealing look at the struggles of one nun and the personal battle with her spirited nature, The Nun’s Story is impressively moving and evocative in what it accomplishes. It holds your interest in how it delves into the life of a nun and owing to thoughtful direction from Fred Zinnemann and a simply luminous performance from Audrey Hepburn.

Gabrielle van der Mal is a vivacious young Belgian woman from a middle class family in the 1930’s. Her father is a prominent surgeon and Gabrielle hopes to one day be serving in the Congo. We meet her as she enters a Catholic Convent to become a nun. We witness the various facets of extensive training to be a nun over a couple of months, with each challenging Gabrielle more and more with her personal feelings. Eventually, she is made a nun and given the name Sister Luke. Yet she faces disappointments and disillusionment in many duties, and yearns to fulfill her dream of helping in the Congo. Although she distinguishes herself in the medical field, she is not allowed to feel pride for doing so as it is considered selfish rather than selfless. Despite this and spiritual as well as personal conflict, Sister Luke perseveres. She is briefly assigned to assist in a mental hospital, where she is nearly killed by a violently schizophrenic patient. Eventually she is rewarded with an assignment in the Congo, yet finds that she is treating the European patients rather than the natives. She assists the no-nonsense and atheist Dr. Fortunati in surgery, and they develop an at first strained but eventually respectful friendship. Fortunati can see that she is struggling with her religious turmoil and that he believes she is more cut out to be a nurse, rather than a nun. Yet desperate to prove herself, she excels but works herself too hard, contracting tuberculosis in the process. After getting better, she still has many questions about what her true calling is. But as her internal tribulation escalates and World War II nears, Sister Luke must ultimately decide whether she is really cut our to be a nun or whether she should leave.

Fred Zinnemann subtly yet with observant eyes directs this take of the complexities of oneself and the question of religion. His direction isn’t overly flashy but in keeping with the story, beautifully elegant and probing. That isn’t to say that the film isn’t beautifully shot( in fact, the juxtaposition between the cold confines of the convent and the supposed freedom of the Congo are gorgeously envisioned), but the main focus is on the human soul. It’s a drama but not one of overt and histrionic heights; more one of elegantly composed dilemmas and poignant questions. The Nun’s Story is endlessly fascinating in how it explores a world that is unseen by many and only really hinted at in other material. You feel like a fly on the wall watching as Sister Luke undergoes the tests that prove difficult in order to becoming a nun, with all the rituals and ceremonial acts ( the cutting of ones hair, the long periods of silence and shedding of the past) displayed in great detail for us to view. Many films are centred on nuns, but The Nun’s Story, with clear-eyed and objective execution, really finds both a strangeness and uniqueness in how these women dedicate their whole lives to religious servitude. It functions into how it might prove extremely trying for someone spirited and uncertain, like the major dilemma that Sister Luke finds herself in as she attempts to do good, but is ironically halted by her vows. Some movie fans may just believe that a film like this would be boring of just religious propaganda, but nothing could be further from the truth. If anything, The Nun’s Story offers up much food for thought on issues of personal freedom, obedience and the many factions of religion. It doesn’t take sides and favour one thing over the other, resulting in a rewarding and challenging film. And for a film that runs for two and a half hours, it is largely enthralling to watch. A few minor lulls can be forgotten due to the impactful power and grace of The Nun’s Story. Franz Waxman composes a beautiful score that is driven by emotion and soulfulness, that fits with both the revealing personal side of the film and the spiritual context.

One of the best things that The Nuns Story boasts is a touching performance by Audrey Hepburn. With a passion and desire to do well, we understand why Sister Luke would want to be a nun. But on the flip side, we witness her intense battle with adhering to obedience and the rigid vows she must live by, that is imbued with poise and expressive turmoil by Hepburn. Her performance is often one of quiet and thoughtful moments; but one where you can observe all the hardship, longing and fight of a woman attempting to fathom her way in what she wants to be her calling. Such luminous and subtle emotion come through powerfully from Audrey Hepburn in a moving performance that stands as one of her best. While everyone else is ideally cast in their parts, it is Audrey Hepburn you will remember the most for her emotion and clarity. Peter Finch excellently portrays the talented doctor in the Congo, who lends his thoughts to Sister Luke while gaining a new level of respect for her, despite their wide differences. Fleshing out the main supporting cast are a fine group of actresses as nuns of different authorities and temperaments that Sister Luke encounters. There is Edith Evans as the stern Reverend Mother who isn’t above feelings of care, Peggy Ashcroft as the largely content and experienced guide, Mildred Dunnock as one of the nuns who acts as the first teacher and Beatrice Straight as the kindest and most understanding of religious women. All of these actresses, regardless of how long they are on screen for, contribute nicely nuanced work, showing the different aspects of religious faith and devotion. The same excellence is also present with Dean Jagger as the devastated father who wants his daughter to succeed, but knows that she will find the life of a nun turbulent. And not forgetting Colleen Dewhurst, the embodiment of menace when playing a schizophrenic patient at the sanitarium.

Stirring and subtly powerful, The Nun’s Story is a film to treasure for how it deals with the dilemma of ones calling and for what is to me, one of Audrey Hepburn’s greatest performances.

Breakfast at Tiffany’s

Tags

1960's, Audrey Hepburn, Blake Edwards, Breakfast at Tiffany's, Buddy Ebsen, Drama, George Peppard, Martin Balsam, Mickey Rooney, Patricia Neal, Romance

Film Title

Breakfast at Tiffany’s

Director

Blake Edwards

Starring

• Audrey Hepburn as Holly Golightly
• George Peppard as Paul Varjak
• Patricia Neal as 2-E
• Buddy Ebsen as Doc
• Martin Balsam as O.J. Berman
• Mickey Rooney as Mr Yunioshi

An iconic romantic drama that boasts many memorable images that have burned themselves into pop culture forever, Breakfast at Tiffany’s is simply gorgeous and delightfully made.

The film centres around the beautiful Holly Golightly, a New York City party girl who enjoys the gifts from the many men in her circle. She is something of a kooky young lady with strange mannerisms, that are nonetheless charming. One day in her apartment block, struggling writer Paul Varjak moves in and by chance bumps into the wild Holly. He soon becomes entranced yet bewildered by the young lady who lives below. She throws huge parties that are pouring with energy and drink, yet underneath Holly appears to be a very different person. She puts across that she is an independent girl who desires to be free from constraints, but at the same time you can tell that she is really searching for something more. The money she gets from men is something to help her with her life, but she would love someday to discover her true self. Paul observes Holly from a distance, as he is something of a kept men of an older women he nicknames 2-E. Slowly, he falls for Holly though she is often at odds with how he is feeling. Will Holly ever let the mask slide and discover happiness that doesn’t come from money?

Director Blake Edwards hits all the right notes of comedy, romance and drama here. He stylishly crafts the slightly unusual tale with a deep heart that is wistful as it is observant of the two principal characters. It is a gorgeous love letter to New York City, which makes the place positively sparkle from beginning to end. The film is loosely based on a novel by Truman Capote and from what I’ve heard toned down from the source material. Now I haven’t read the book so I can’t really judge, but I found Breakfast at Tiffany’s a lovely film. Due to censorship of the time, various parts of the story were glossed over. The biggest one is what Holly does for a living( of which I’m told in the book she is a call girl). As shown in the film, she seems to be a girl who enjoys the company of men and having a good time. Yet watching through modern eyes, there are areas where sometimes it gives an insight into Holly’s professional life. The same goes for Paul, who appears to be something of a gigolo himself. I found these parts of the movie interesting as while it is toned down and done subtly, you can get parts of the film that reference these things quietly and not in your face. The movie neatly balances romance and laughs throughout it. Yet many may be surprised by the percolating tone of melancholy that runs through it, mostly in the shape of the conflicted Holly. And if you’re talking about a film of iconic moments, Breakfast at Tiffany’s is practically overflowing with them. There is the opening where Holly observes Tiffany’s from outside in a beautiful black dress and sunglasses, that still influences fashion today no doubt. Then we have Holly crooning ‘Moon River’ on her fire escape as a bewitched Paul watches. And I can’t forget that lovely rain-soaked kiss that occurs and is romance at its most glorious. One of the most successful parts of the film is the score from Henry Mancini, that hits the notes of romanticism and wistful sadness perfectly, including the aforementioned ‘Moon River’. All of these elements fuse together to craft an entertaining and magical experience that has remained evergreen.

This film ultimately belongs to Audrey Hepburn, who is enchanting as the wild and kooky Holly. She displays the zest for life of an extrovert perfectly, showing a disarming and amusing young lady. But the biggest achievement of Hepburn’s performance is how well she shades the character. Holly is a somewhat complex character of contradictions and Hepburn marvellously gets all the sides across. She’s funny, witty yet underneath it melancholy and searching for meaning. It’s a wonderfully constructed performance from a luminous Audrey Hepburn, who never looked lovelier than she did here. George Peppard sensitively plays the curious Paul, who is enchanted by Holly yet frustrated by her outlook on life and men in general. The two share a somewhat unusual chemistry that begins as friendly and then moves into love as Paul discovers the extent of his feelings for the kooky Holly. In supporting roles, Patricia Neal is cynical and sexy as Paul’s benefactor and Buddy Ebsen has the required sadness for playing someone from Holly’s past. And Martin Balsam is a smooth and perceptive presence as Holly’s agent, who sums her up perfectly with the line “She’s a phony, but she’s a real phony”. The only flaw that can be found in Breakfast at Tiffany’s is Mickey Rooney portraying Holly’s Japanese landlord. Not only is the role racist and very offensive by today’s standards, it is supposed to be funny in the film but is cringe inducing and grotesque to watch.

Directed with style, laced with humour and pathos, as well as a superbly radiant Audrey Hepburn, Breakfast at Tiffany’s is a classic for a reason. They simply don’t make them like they used to and this is one of those films that retains a magical glamour.

Roman Holiday

Tags

1950's, Audrey Hepburn, Eddie Albert, Gregory Peck, Roman Holiday, Romantic Comedy, William Wyler

Film Title

Roman Holiday

Director

William Wyler

Starring

• Audrey Hepburn as Princess Ann
• Gregory Peck as Joe Bradley
• Eddie Albert as Irving Radovich

A beautifully charming, amusing yet bittersweet romantic comedy, Roman Holiday is a glorious and magical movie that weaves its charm on you from start to finish. With a career making role for the wonderful Audrey Hepburn and lovely chemistry with co-star Gregory Peck, this is a romantic comedy of a golden standard that they just don’t make like this anymore.

The plot revolves around the young Princess Ann, who is heir to the throne of an unspecified European country. She is on a tour of Europe and the latest exhausting trip has taken her to Rome. But beneath the courteous bows and wide smile, the young Ann desires freedom from stifling regulations and wants to live a life where she isn’t told what to do or where to go. One night and on the spur of the moment, she sneaks away from her royal life and ventures into the Eternal City. Unfortunately she become dazed due to being given a sedative by her doctor earlier in the night to calm her stress, and she falls asleep on a bench. She is found by American reporter Joe Bradley, who not recognizing who she is, takes her back to his apartment so she can rest as he believes that she is merely drunk. The next morning, Joe discovers thanks to his friends at the newspaper that the woman in his apartment is in fact the Princess, whose chaperons have said that she has been taken ill in order to avoid a scandal as they search for the runaway princess. Joe sees the opportunity to get a story from Ann that could fetch in a lot of money. With the help of photographer friend Irving, he charms Ann by concealing his job and takes her on a days long adventure around the wonderful city. Yet while in the beginning he intended to just get a story from the yearning princess, his heart stops him in his tracks as he falls for the beautiful Ann and reconsiders his actions. The incognito Ann also questions herself as she herself grows enamored with Joe, despite knowing that her adventure can only last for a day.

The masterful William Wyler directs Roman Holiday with a sublime elegance and a certain magic that captures the beauty of the city and the sweet but very touching romance. The way he shoots the Rome locations as a graceful attraction unfolds is a marvel to behold and features some stunning shots of the iconic city. He keeps the humorous escapades in check as well as highlighting a bittersweet undertone due to the fact that Ann and Joe are from different backgrounds and the chance of accepted romance( despite the obvious attraction that slowly grows )coming into fruition is unlikely. There is romance here, but it’s more subtle and tender rather than going overboard on overblown tragedy. It’s all superbly handled and makes the relationship between the two engaging and sublime and it certainly adds to the magical impact of the film that Hepburn and Peck work so beautifully together. In essence, Roman Holiday is a reversal of the Cinderella formula, with the luminous Ann wanting to escape her rich lifestyle and find the freedom that she craves. This subversion is a welcome change and adds to the smart script that rings true with its message of wanting to be free from constraints and wanting to live ones life as one chooses. A delightfully wistful and sweeping score gives voice to the burgeoning romance and freedom that is so yearned for as the magical 24 hours shared by Ann and Joe pass.

This was the movie that launched the young Audrey Hepburn into cinematic royalty, won her a well-deserved Oscar and it’s not hard to see why. Hepburn is beguiling, graceful and moving in her delivery as Princess Ann, imbuing her with a sympathy and charm to spare as she escapes protocol and lives life to her heart’s content for a day. You can’t take your eyes off Hepburn when she’s on screen because of how radiant and graceful she is. This is a true star making role of captivating beauty if ever there was one. She is ably supported by Gregory Peck as the opportunistic journalist Joe whose desire to get a story soon withers as he grows to understand and love the sheltered princess. In the hands of a lesser actor, the role of Joe could have become a real slime ball. But with Gregory Peck in the part, there is a decency there and he exudes more emotion with a glance than some actors can with huge lines of dialogue. Hepburn and Peck have a sterling amount of tender chemistry with one another and it shows so much on the screen. Eddie Albert is very funny as the photographer Irving, who is embroiled in events a little befuddled by what is going on.

Funny yet very touching, Roman Holiday is one of those movies that has not lost any of its nostalgic or romantic impact over the years and remains thoroughly beguiling and sublime.

 

 

The Children’s Hour

Tags

1960's, Audrey Hepburn, Drama, Fay Bainter, James Garner, Karen Balkin, Miriam Hopkins, Shirley MacLaine, The Children's Hour, Veronica Cartwright, William Wyler

Film Title

The Children’s Hour

Director

William Wyler

Starring

• Audrey Hepburn as Karen Wright
• Shirley MacLaine as Martha Dobie
• James Garner as Joe Cardin
• Karen Balkin as Mary Tilford
• Fay Bainter as Amelia Tilford
• Miriam Hopkins as Lily Mortar
• Veronica Cartwright as Rosalie

William Wyler directs this powerful and daring adaptation of Lillian Hellman’s controversial play, The Children’s Hour. Focusing on the repercussions of a spiteful lie and the emotional fallout, it provides compelling and emotionally gripping viewing.

Good friends Karen Wright and Martha Dobie are the headmistresses of a private school for girls in New England. Karen is engaged to doctor Joe Cardin, who she plans to marry soon. Martha is slightly jealous of this and doesn’t want her friend taken away from her. She has a heated conversation with her Aunt Lily, a former Broadway star and elocution teacher about her feelings of loneliness. Her aunt tells her that her relationship could be seen unnatural.  Among the girls attending the school is Mary Tilford, a spoiled and vicious bully who delights in trouble. After being reprimanded by Karen over a wrongdoing, the spiteful girl forms a lie based on fragments of gossip given to her by her friends and tells her grandmother Amelia that Karen and Martha are lovers. Mary continues to fabricate this lie making her grandmother believe her. As a prominent citizen, Amelia quickly tells the other parents of the girls. One by one, the girls are withdrawn from the school as the rumours begin to spread about Karen and Martha’s relationship. The lie soon leads to swift, unexpected and ultimately tragic consequences as the two women are ostracized and their school becomes ruined.

The first thing to praise in this powerful tale of the horrifying impact of lies is how it deals with its subject matter. Lesbianism was still very much a taboo subject in the 60’s, The Children’s Hour manages to address this in a way many people will understand and doesn’t sugarcoat the source material. It examines how the women are treated when the rumours start, one particularly horrifying scene includes a group of men gleefully staring at the women, judging them because of their alleged relationship. The scene clearly demonstrates the prejudice and stigma against gay people during this time and shows it to devastating and heartbreaking effect.William Wyler directs with immediacy and quiet power as the camera looms over the school that gradually becomes silent as the girls leave and the two women at the centre of the story are torn apart by the lie of the spiteful Mary. The music score is an evocative one, engulfing the audience in the emotional fallout with crescendos and quiet strings. The script deftly captures the atmosphere of confusion and betrayal all caused by a few words from a little girl.

What gives The Children’s Hour its powerful impact is the talented cast. Audrey Hepburn subtly and luminously portrays Karen with a solemn and quiet reserve that takes on a pained expression when the lie begins to circle and her happy life is destroyed. Shirley MacLaine works excellently against Hepburn and delivers a touching performance as the needy Martha, who begins to crumble as the lie engulfs every inch of her existence. James Garner is suitably kind as the doctor engaged to Karen, who is one of the few people to stand by the women as others judge them. Karen Balkin is wickedness personified as the mendacious Mary, whose little lie puts the swift wheels in motion that lead to the pain endured by Martha and Karen. Fay Bainter nails her supporting role as Amelia, who spreads the lie but comes to see that her granddaughter is fabricating events too late. Miriam Hopkins is a delight as the highly strung Aunt Lily, who accidentally puts her foot in it many times. A young Veronica Cartwright essays the role of Rosalie, a classmate of Mary’s who is blackmailed into cooperating with the telling of the lie.

Powerful, daring and emotionally involving, The Children’s Hour shows the swift and tragic impact that one lie can have on the people involved.