Ante-Jurassic Antics: Hammer’s Prehistoric Quartet

Posted on June 11, 2015February 22, 2018 by James

Today sees the premiere of Jurassic World, the fourth installment of the lumbering prehistoric franchise that seems to have become a permanent fixture of weekend television. When I saw the trailer I had a sense of déja vu – not simply with regard to myself, but also for the characters: does the basic premise not ring any alarm bells with anyone visiting a theme park with live dinosaurs? Has no-one learned anything? Anyway, the trailer was so laden with CGI that I found myself hankering for prehistoric hokum from an earlier era, and have therefore been feasting on some old Hammer dvds.

The name of Hammer will always be associated with the horror genre, but the studio’s output also included science-fiction, thrillers and comedies. During a short period in its history Hammer also turned their focus on the prehistoric era, resulting in four films: One Million Years B.C. (1966), Slave Girls (1967), When Dinosaurs Ruled the Earth (1970) and Creatures the World Forgot (1971.) Compared to the contemporary Jurassic franchise, these movies might appear as antiquated as the period in which they are set, but they provide entertainment in areas that Spielberg left untouched.

1. One Million Years B.C.
(Don Chaffey, 1966)

The movie is actually a remake of One Million B.C. (Hal Roach, 1940) which starred Victor Mature as Tumak and Carole Landis as Loana – parts played in the Hammer film by John Richardson and Raquel Welch respectively. Tumak is the son of Akkobo, chief of a dark-haired and savage tribe known as the Rock People. He is cast out from his people after a squabble over who gets to the eat the biggest chunk of meat, and after surviving a series of dangers, is rescued by the lovely Loana from the more civilised Shell People. Tumak’s rough ways are gradually softened by living with the new tribe, but the prospect of peace is threatened by skirmishes with the Rock People, dinosaur attacks and a volcanic eruption.

Faced with a giant lizard, Tumak (Victor Mature) clearly finds Loana (Carole Landis) a more attractive sight. Who could disagree? ‘One Million BC’ (1940)

Rather than using the costly stop-motion process to depict his dinosaurs, director Hal Roach used magnified footage of live reptiles wearing stick-on fins and horns. Ludicrous although it sounds, the effects were actually so good that they were re-used in several other films such as Tarzan’s Desert Mystery (Wilhelm Thiele, 1943), Two Lost Worlds (Norman Dawn, 1951) and Valley of the Dragons (Edward Bernds, 1961.) The most iconic image from the film is, of course, that of Racquel Welch in her fur bikini; it would be a dreadful sin of omission if I failed to include a picture.

Loana (Racquel Welch)

The 1966 movie sticks fairly closely to the story of the original, but for the dinosaur scenes they turned to Ray Harryhausen, whose stop-motion animation technique has recently been used in Jason and the Argonauts (Don Chaffey, 1963) and First Men on the Moon (Nathan Juran, 1964.) Some live action sequences – involving a magnified iguana and tarantula – were also included as a nod of respect towards Hal Roach’s movie.

Highlights include a battle between a tyrannosaurus rex and a triceratops, an attack on the settlement by an allosaurus, where a young girl is stranded up a tree, Loana being carried away by a pterosaur or flying lizard (below.)

A pterosaur, looking surprised at the sight of humans

2. Slave Girls/ [In U.S. – Prehistoric Women]
(Michael Carreras, 1967)

As executive producer of Hammer Films from 1955, Michael Carreras was the driving spirit behind much of the studio’s output over the next two decades and was the producer of all four films featured here. Slave Girls (released in America as Prehistoric Women) is, however, the most ridiculous of the quartet, and studio executives were well aware that it was a sub-standard effort. It was shot in four weeks, re-using sets and costumes left over from One Million Years B.C. – a cost-cutting tactic frequently used by Roger Corman for his B-movies.

The script is far-fetched, to say the least. Big-game hunter David Marchand (Michael Latimer), has been captured by African tribesmen and is about to be sacrificed when a time portal opens up and transports him back to a prehistoric world populated by two tribes of women – one blonde, the other brunette. The latter are the dominant tribe, headed by Queen Kari (Martine Beswick), and the poor blondes – who happen to be rhino-worshippers – live in a state of slavery, while the men are imprisoned in a dungeon. Marchand’s arrival makes things worse, especially when he falls for blonde slave girl Saria (Edina Ronay). Whether these are prehistoric slave girls or merely women in a jungle somewhere is never resolved, and there is even a hint that the entire episode may have been some sort of dream after Marchand passes out.

Despite the absurdity of all this, Martine Beswick delivers an impressive performance as the imperious Queen Kari. A less dignified scene sees her recreating her catfight with Raquel Welch in One Million Years B.C., this time with Carol White, whom sharp-eyed viewers might remember as the young Sibella in Kind Hearts and Coronets (Robert Hamer, 1949) – she was soon to receive great acclaim in the role of a homeless single mother in Cathy Come Home (Ken Loach, 1966.) Beswick went on to appear in From Russia with Love and Thunderball, but her Bond girl roles were really a step down from Queen Kari.

This image of Queen Kari graces the cover of I.Q. Hunter’s excellent book ‘British Trash Cinema’ (BFI, 2013.)

In many UK cinemas Slave Girls was screened as a double bill with The Devil Rides Out (Terence Fisher, 1968)

3. When Dinosaurs Ruled the Earth (Val Guest, 1970)

Basically a reworking of One Million Years B.C., using a screenplay worked on by J.G. Ballard – earning his first screen credit – and adapted by Val Guest, director of the original Quatermass Xperiment (1955) and The Abominable Snowman (1957), When Dinosaurs Ruled the Earth was filmed at Shepperton Studios and on location at Fuertaventura in the Canary Islands, between November 1968 and January 1969. The stop-motion animation of the dinosaurs was executed (superbly) by Jim Danforth, as Harryhausen was busy in America doing stop-motion work for The Valley of the Gwangi: in a shrewd marketing ploy Warners had the two movies released as a double bill.

Gentlemen prefer blondes – but the men in the dinosaur monks are clearly no gentlemen, as these three fair ladies are lined up as sacrificial offerings.

The movie is underpinned once again by rivalry between blondes and brunettes. A dark-haired tribe are about to sacrifice a group of blonde victims as an offering to protect them from dinosaur attacks, when a freak storm (apparently to do with the creation of the moon) disrupts the ceremony. One of the blonde women, Sanna (Victoria Vetri) escapes by plunging off the cliff into the sea, from which she is rescued by members of another tribe – including Tara (Robin Hawdon), whose affection for her rouses the jealousy of his ‘wife’ Ayak (Imogen Hassall.)

The hostility of Ayak is just one of the difficulties faced by Sanna – she has to fend off dinosaur attacks, escape from giant snakes and carnivorous plants, while the priest (Patrick Allen) from whom she escaped at the start comes looking for her and manages to convince her rescuers that she is responsible for their misfortunes. Everything comes to a head on a beach, just as a tsunami prepares to roll in – one of many scenes in which the laws of nature appear to have been suspended.

The film follows the same structure as One Million Years BC, and the caveman ‘language’ is used much more extensively – which does become tedious rather quickly. There is some effective handheld camera work and intriguing scenes, such as one where we see one of the Beach Tribe women applying tar to young girl’s blonde hair.

Highlights include a beach attack by a plesiosaur, a battle with a triceratops-like chasmosaurus , a delightful baby dinosaur and its less delightful mother, and another flying lizard snatch.

Beauty and the beast – Victoria Vetri with a made-up dinosaur (rather like the Rhedosaurus in ‘The Beast from 20,000 Fathoms’) in hot pursuit.

4. Creatures the World Forgot
(Don Chaffey, 1971)

Deer little boys – Toomak and Rool

The title is slightly misleading, as the reference to creatures raises some expectation of more dinosaurs, but alas, the movie is devoid of prehistoric monsters and instead provides another tale of rivalry between dark-haired and fair-haired tribes. This conflict is personalised when a woman gives birth to twin sons, one blond (Toomak) and the other dark-haired (Rool); recalling Biblical tales of Cain and Abel or Jacob and Esau, the two grow up as rivals, the situation exacerbated when Toomak is given the hand of Nala (Julia Ege), daughter of a tribal chief. We do get to see a sabre-toothed tiger and a python, but despite the presence of former Miss Norway, Julia Ege, the film is more concerned with cavemen rather than women, whose dialogue consists of grunts that are even less eloquent than the prehistoric ‘dialect’ used in the previous film. It may be just as far-fetched as the films outlined above, but there is a sense with Creatures the World Forgot that Hammer was making a stab at realism: the world depicted here is certainly a more plausible than one in which dinosaurs and humans romp about together. There are some interesting depictions of folklore rituals involving masks and talismans, and the film makes the most of the location shots in Namibia, incorporating footage of native wildlife.

The influence of these films is discernible upon subsequent prehistoric romps such as The Land That Time Forgot (Kevin Connor, 1975) its sequel The People That Time Forgot (Kevin Connor, 1977) and the totally anachronistic nonsense of 10,000 BC (Roland Emmerich, 2008) whose time-specific title must surely be a respectful nod towards the earlier Hal Roach/Hammer movies. Although they have managed to move away from the sexist and racist overtones of the Hammer era, the Jurassic Park franchise continues to indulge audiences’ desire to see humans and dinosaurs on screen together, and they even make a direct allusion to the earlier movies:

Note the movie title reference on the banner

Anyway, to end, here’s the posters for Hammer’s prehistoric quartet. If anyone goes to see Jurassic World, feel free to add a comment below with your opinion!

Peter Sasdy at 80

Posted on May 27, 2015February 1, 2018 by James

Today is the 80th birthday of director Peter Sasdy, and I wanted to pay a little tribute to the man and his work.

Peter George Sasdy was born in Budapest on the the 27th May 1935. Although he survived the war and the devastation of Budapest, he was forced to leave Hungary after the failure of the 1956 uprising. Arriving in England, he studied drama and journalism at Bristol University before joining ATV in 1958. His first task there was directing numerous episodes of Emergency Ward 10 (1959-60.) He was promoted to director of drama at ATV, before going freelance in 1964. His work included a range of series and standalone plays, ranging from police dramas such as Ghost Squad (1963-64), Isaac Asimov’s Caves of Steel (1964, his first collaboration with Peter Cushing) to two Brontë adaptations, Wuthering Heights (1967) and the four-episode series The Tenant of Wildfell Hall (1968-69) starring Janet Munro as Helen Graham.

He also directed no less than three productions of Sherlock Holmes, beginning with an ITV episode in 1965 that starred Peter Cushing as the detective. This was later followed by the Polish-British co-production Sherlock Holmes (1979) starring Geoffrey Whitehead, and finally Sherlock Holmes and the Leading Lady (TV movie 1991) starring Christopher Lee.

He came to know the two great masters of British horror very well after being taken on by Hammer studios, with whom he made his feature film debut in 1969. Taste the Blood of Dracula (1970), was the fifth Hammer film about the Transylvanian count and the fourth to feature Christopher Lee, although Dracula himself has very little screen time. In compensation for some awful dialogue the production values are relatively high, with lavish 19th century sets, shadowy Gothic lighting and some brilliant camera work.

Sasdy followed this up with Countess Dracula (1971), starring Ingrid Pitt as bloodthirsty Hungarian aristocrat Erzsébet Bathory (1560-1614.) Unlike most other Hammer horrors there was a genuine interest in the film’s historical basis, due partly to Sasdy’s nationality being shared by the producer Alexander Paal and the leading man, actor Sandor Eles. Nonetheless, Sasdy and Paal frequently fell out on set and had blazing rows in Hungarian in front of the cast and crew. Ingrid Pitt found the tense atmosphere intolerable, so she went away and learnt a few Hungarian swear words, which she let rip the next time the two men started arguing. The film failed to realise its potential, partly because of Sasdy’s over-restrained direction.

Sasdy’s next film for Hammer was Hands of the Ripper (1971), an original take on the story of Jack the Ripper that imagines that he had a daughter who inherited his murderous traits. The traumatised young girl (Angharad Rees) is found by a psychiatrist (Eric Porter) who – naively – imagines he can help her. His motives are not entirely altruistic of course, and the nuanced performances by Porter and Rees give their relationship both depth and sympathy, despite the increasingly bloody activities of the girl. Sasdy’s direction gives the film something of a giallo feel, introducing elements of a modern ‘slasher’ film to what might otherwise have been another Hammer period piece.

The Stone Tape is probably Sasdy’s finest work and . Shown on BBC2 on Christmas Day 1972 as part of the BBC’s tradition of broadcasting ghost stories at Christmas, Nigel Kneale’s script was unusual in fusing traditional elements – a Victorian mansion haunted by ghostly screams and apparitions – with modern technology. The story focuses on a crew of electrical researchers who have moved into the old house of Taskerlands to concentrate on their new project: to devise an alternative recording medium to magnetic tape, so as to outgain their industrial rivals in Japan. Although the researchers – especially Jill (Jane Asher) – both see and hear apparitions in the house, their sophisticated equipment is unable to record any trace of these – inspiring the team leader Peter Brock (Michael Bryant) to propose a theory: that the supernatural occurrences are actually phenomena that have been recorded by the room itself, and are being replayed through the senses of those present. Does this ‘stone tape’ provide a solution to their technical quest?

The originality of these themes, and the subtle, intelligent way in which they are handled are startling, and it remains a deeply unsettling film even today despite its dated acting style (it comes across as a filmed play, complete with some overtly theatrical performances) and limited effects. The chills come from the sound design rather than the visual effects, as Brock’s team cranks up the noise in order to increase their chances of recording a response from the room’s ‘presence.’

Ghost in the machine? When ‘The Stone Tape’ was made, computers were still an alien concept to many.

Jane Asher as Jill Greeley in ‘The Stone Tape’ (1972)

Doomwatch (1972) was an intriguing Tigon production based on a TV series
starring Robert Powell, John Paul and Simon Oates that had been inspired by Nigel Kneale’s Quatermass. Again, it was well ahead of its time, tackling the issue of environmental pollution and government cover-ups, albeit with a creepy atmosphere and marketing campaign that would have been more appropriate for a Hammer horrors than for the actual film itself.Both Paul and Oates reprised their roles, with Powell’s place taken by Scottish actor Ian Bannen, and George Sanders playing an admiral. It was filmed in Cornwall, around the area of Polkerris and Polperro.

Nothing but the Night (1973) starring Christopher Lee and Peter Cushing, also involved sinister occurrences on an island. Like Doomwatch, there are similarities with The Wicker Man, which had just been released. Nothing but the Night was the only film made by Lee’s production company, Charlemagne, which seems a shame given the promise shown here. Once again Sasdy demonstrated his skill at exploring psychological horror, against a background that includes a spate of bizarre murders, a remote orphanage and ritual burnings.

Some of other Sasdy’s films don’t merit much attention, however, and amongst his worst is Sharon’s Baby (1975), which aimed at replicating the success of Rosemary’s Baby (Roman Polanski, 1968) but fails. Miserably. Attempts to repackage it as I Don’t Want to Be Born, It’s Growing Inside Her and The Monster did not succeed any better. Sasdy even managed to pick up a Razzle Award for Worst Director after The Lonely Lady (1983), an adaptation of Harold Robbins’ best-selling novel that starred multiple Razzle Award winning ‘actress’ Pia Zadora. Of much greater interest was Welcome to Blood City (1977), a science-fiction film that explores the idea of virtual reality over twenty years before The Matrix.

Alongside his film output Sasdy continued doing working for television, including episodes of popular series such as The Return of the Saint (1978-79), Minder (1979) and The Secret Diary of Adrian Mole Aged 13¾ (1985-87.) His association with Hammer ensured he was kept on board when the studio broke onto the small screen with The Hammer House of Horror (three episodes, 1980) and The Hammer House of Mystery and Suspense (three episodes, 1984.) His last TV production was an Omnibus documentary on another Hungarian director, Alexander Korda, whom Sasdy has often cited as a major inspiration. The disproportionate contribution made by Sasdy’s countrymen to the visual arts has led some to wonder what it is about Hungary that has produced so many brilliant photographers and film directors. But as Korda himself once quipped, ‘It’s not enough to be Hungarian – you must have talent too.’

Sisters on the screen: 20 films about convent life

Posted on May 4, 2015July 2, 2020 by James

The Convent Gate – from an old promotional postcard

To mark today’s screening of Black Narcissus as part of the series of Exeter Screen Talks, I wanted to celebrate twenty films about convent life. The emphasis is on movies that make some serious attempt at portraying religious life, and I have therefore ignored those with fake nuns (A Mule for Sister Sarah (1970) and Più forte sorelle (Renzo Spaziani, 1973) as well as the more lurid examples of the nunsploitation genre (Behind Convent Walls (1978), Sacred Flesh (1999) etc) but at the end of the day the selection is a personal one and is as arbitrary and subjective as can be.

The Convent Gate (Wilfrid Noy, 1913)

Straightaway I’m cheating by writing about a film that I haven’t seen. It’s been estimated that between 75-90% of silent films were destroyed or disappeared, and sadly The Convent Gate was one of them. My interest was piqued when I came across this postcard at a flea market some years ago, and I wrote a little bit about it in a previous post.

The White Sister (Henry King, 1923)

Ten years later Lilian Gish starred in this adaptation of F. Marion Crawford’s 1909 novel The White Sister. It had been filmed already in 1915 with Viola Allen in the title role, as star-crossed Italian lover Angela Chiaromonte who enters religious life after a series of tragic events, plotting and misunderstandings. Ronald Colman played her lover, Captain Giovanni Severini.

Lilian Gish in ‘The White Sister’ (1923)

Helen Hayes as Angela Chiaromonte in ‘The White Sister’ (Victor Fleming, 1933)

The story is set in Italy and ends with the climactic eruption of Vesuvius. While in Sorrento five years ago I came across a street named after Crawford – he moved here in the 1880s and knew the area well.

The White Sister (Victor Fleming, 1933)

In the third screen adaptation of Crawford’s novel Angela was played by Helen Hayes, who was about to make her name playing Mary Queen of Scots and Queen Victoria on Broadway. Colman’s role was taken here by Clark Gable.

I’ll skip quickly over The Song of Bernadette (Henry King, 1943) as it was the subject of a recent post which you can read here.

Les Anges du Péché (Robert Bresson, 1943)Comparisons are often drawn between the work of Bresson and Bill Douglas, both of whom excelled in the use of poetic imagery with minimal dialogue. Bresson was still finding his style with Les Anges du Péché, his first feature film, made in wartime France in collaboration with Dominican friar Fr. Raymond Bruckberger O.P. and playwright Jean Giraudoux. ‘Angels of Sin’ follows events in a religious community dedicated to rehabilitating women prisoners, but it is easy to see the German occupation of France as influencing the themes of incarceration and vengeance killing.

Les Anges du Péché

This may be early Bresson, but it is well worth a watch: as Oliver Assayas has said of Bresson, ‘He is what keeps me faithful to what cinema can achieve. In moments of discouragement, he reminds me how great films can be.’

Bells of Saint Mary’s (Leo McCarey, 1945)

Ingrid Bergman and Bing Crosby star in this drama as Sister Mary Benedict and Father Charles O’ Malley, fighting to save their city school from closure. Both of them get to sing in the movie of course, Bergman singing the traditional Swedish folksong Varvindar Friska (Spring Breezes) and Crosby crooning the title song (along with a choir of nuns) and others. The movie is used in the film The Magdalene Sisters (Peter Mullan, 2002) with bitter irony – the sweet nuns of the 1945 film contrasting harshly with the cruel, somewhat cartoonish villains of Mullan’s tale.

Ingrid Bergman as Sister Mary Benedict in Bells of Saint Mary’s (Leo McCarey, 1945) with Bing Crosby

Black Narcissus (Powell & Pressburger, 1947)

One of my favourite films of all time, and my strongest recommendation of all those listed here, Black Narcissus is based on Rumer Godden’s 1939 novel and tells the story of a community of nuns opening a convent in the Indian Himalayas. As with so much of Powell and Pressburger’s work, the film is imbued with a strong sense of place and an awareness of the effect of location on human behaviour: the lush sensuality of the landscape (filmed in vibrant Technicolor by Jack Cardiff) and the erotic history of the convent building (a former seraglio) seem to draw out the emotional tensions and desires of the nuns – in particular Sister Ruth (below.)

Those eyes, that mouth…. Deborah Kerr as Sister Clodagh in ‘Black Narcissus’

The Himalayan landscape was suggested through the use of magnificent matte paintings, as the above pictures reveal

The magnificent cast also includes Deborah Kerr, Flora Robson, Jean Simmons, Esmond Knight and a surly, swaggering David Farrar.

Come to the Stable (Henry Koster, 1949)

Another tale of nuns moving into an unfamiliar location, but very different in tone, Come to the Stable starred Loretta Young and Celeste Holm as two French nuns trying to establish a foundation in Bethlehem, Connecticut. Unlike the plot of The Bells of St Mary’s the nuns don’t resort to trickery to achieve their goals…

Sister Scholastica (left, Celeste Holm) and Sister Margaret (right, Loretta Young) in a scene from ‘Come to the Stable’

Sister Josephine (Connie Gilchrist) and Sister Mary (Claudette Colbert)

Thunder on the Hill (Douglas Sirk, 1951)

This who-dunnit is set in a storm-lashed Norfolk convent, where convicted murderess Valerie Carns (Ann Blythe) gets marooned by the weather while en route to the gallows. (Ruth Ellis, the last woman hanged in Britain, died four years later, in 1955.) Claudette Colbert plays Sister Mary, a young nun who begins to have doubts about Valerie’s guilt – setting her on course to clash with the Mother Superior (Gladys Cooper.)

Corporal Allison (MItchum) and Sister Angela (Kerr)

Heaven Knows, Mr Allison (John Huston, 1957)

Having played the Sister Superior in Black Narcissus, Deborah Kerr was demoted to the status of a novice in this film, in which she is stranded together with US marine Robert Mitchum on a Pacific island during WWII. They have to deal with lack of food, fever, Japanese soldiers and – of course – each other, while waiting to be rescued. Both stars give tremendous performances, while the exotic location (much of it was filmed in Tobago) provides a lush backdrop to the poignancy and drama of their situation.

The Nun’s Story (Fred Zinnemann, 1959)

Based on Kathryn Hulme’s 1956 novel, The Nun’s Story follows Sister Luke (Audrey Hepburn) as she struggles to deal with inner conflict as a medical nun working in Africa. As with The White Sister and Black Narcissus, there are hints of an unresolved romance haunting her decision to enter the convent, but Sister Luke also has to deal with issues regarding obedience and her duties towards her family and homeland after the Nazis invade Belgium while she is working in Africa. It’s one of the best films for a serious exploration of the real issues involved in taking the veil.

Sister Luke (Audrey Hepburn) and friend

Le Dialogue des Carmelites
(Philippe Agostini, 1960) This was another wartime project of Fr Bruckberger O.P., based on Gertrud le Fort’s novel about a community of Carmelite nuns who were martyred at Compiegne in 1789 during the French Revolution. George Bernanos wrote additional dialogue – much of which was later dropped – and stage and opera versions were produced before the screenplay finally made it to the screen. Jeanne Moreau played Mère Marie de l’Incarnation.

Mother Joan of the Angels
(Jerzy Kawalerowicz, 1961) Based on the same story about the possessed nuns of Loudun that inspired Ken Russell’s film ten years later, Mother Joan of the Angels is much less well known: this is a shame, as it’s an absolute masterpiece, subtle in all the places where Russell is extravagant, yet containing a wealth of stark, stunning imagery and poetic visuals.

Le Dialogue des Carmelites (1960)

A scene from Matka Joanna od Aniolow (Mother Joan of the Angels)

Lilies of the Field (Ralph Nelson, 1963)

This film provided Sidney Poitier with his first Oscar, playing wandering handyman Homer Smith who finds work (but no wages) helping out a struggling community of nuns from German and Eastern Europe. The title of the film is taken from Matthew 6:28-30, which Mother Maria (Lilia Skala) quotes in response to Homer’s request to be paid.

The nuns get excited about a phonograph in ‘Lilies of the Field.’

The Sound of Music (Robert Wise, 1965)

Maria von Trapp’s memoir The Story of the Trapp Family Singers provided the basis for a Rodgers & Hammerstein musical which was in turn adapted for the screen by 20th Century Fox. Julie Andrews played Maria, a novice nun who leaves the convent for a while to work as a governess to an Austrian family of seven children, and ends up leaving religious life and marrying their widowed father. Some of the exterior scenes were shot at the convent of Nonnberg in Salzburg.

Maria…not ‘an asset to the abbey’? A scene from ‘The Sound of Music’

The Nun (Jacques Rivette, 1966)

Denis Diderot’s novel La Religieuse, published in 1796, offers a profound critique not only of religious life and Catholicism but also of the constraints placed upon women in 18th century society. Diderot’s simple tale recounts the sufferings of a young girl, Suzanne Simonin, who is forced into the convent by her family. French New Wave director Jacques Rivette adapted the novel for the stage before revising it for the screen, in both versions casting Jean Luc Godard’s then-wife Anna Karina as Suzanne. It remains quite stagey, with its slow pace and unadorned style, but it’s deeply moving and heartbreaking in its depiction of Suzanne’s ordeals as she experiences religious life under three Mother Superiors – the kindly Madame de Moni (Micheline Presle), cruel Sister Sainte-Christine (Francine Berge) and the ardent Madame de Chelles (Liselotte Pulver.) The film was remade by Guillaume Nicloux in 2013 with Isabelle Huppert playing Suzanne.

Sister Suzanne (Anna Karina, on left) falls foul of the new regime in ‘La Religieuse’ (1966)

The Trouble with Angels (Ida Lupino, 1966)

Returning to the present day and a lighter vein, The Trouble with Angels was set in an American convent school where rebellious pupils Hayley Mills and June Harding try to outwit the Mother Superior (Rosalind Russell), only to find that they underestimate the nun’s wisdom and wiles. The success of the film inspired a rather lacklustre sequel, Where Angels Go, Trouble Follows (James Neilson, 1968.)

Mary (Mills) and Rachel (Harding) meet their match

The Singing Nun (Henry Koster, 1966)

Debbie Reynolds as Sister Ann in ‘The Singing Nun’

Lobby card of a scene from ‘The Singing Nun’

‘The Singing Nun’ was the popular name given to Sister Luc-Gabrielle O.P., also known as Jeanne Deckers (1933-85), a Dominican nun from Belgium who released several records including the No.1 single ‘Dominique’ (1963.) The movie is a sweetly fictionalised portrait of Deckers, whose life subsequently took a tragic dive downwards into depression, drug abuse and suicide.

Change of Habit (William Graham, 1969)

Sister Michelle (Mary Tyler Moore) and Doctor John Carpenter (Elvis Presley) in ‘Change of Habit’

Elvis Presley’s final fictional movie role saw him play a doctor in a run-down area who is unaware that three co-workers – Michelle Gallagher (Mary Tyler Moore), Irene (Barbara McNair) and Barbara (Jane Elliott) are in fact nuns who have shed their habits in order to gain the trust of the parishioners they are trying to help. The movie, as one would expect, contains romantic entanglements and lots of Elvis songs.

As a by-the-by, it is perhaps worth mentioning that another of Elvis Presley’s co-stars, Dolores Hart – who played opposite ‘The King’ in Lovin’ You (1957) and King Creole (1958) – entered a real-life convent in 1963 and later became the Prioress of Regina Laudis Priory in Connecticut.

The Devils (Ken Russell, 1971)

It’s been over forty years since the release of The Devils but Ken Russell’s extraordinary and disturbing work has retained its reputation as one of the most shocking movies ever made in Britain. The scenes of orgiastic violence are graphic and unrelenting, but shot with the high command of visual aesthetics that one would expect from production designer Derek Jarman. Although Vanessa Redgrave played Mother Jeanne of the Angels, the role had been originally offered to Glenda Jackson. However, after playing the female leads in Russell’s Women in Love (1969) and The Music Lovers (1970), a third erotically-charged performance might have been excessive (even for them.) As a representation of convent life The Devils cannot evade the charge of sensationalism – it’s a orgy of Grand Guignol grotesquerie and Gothic horror – but it explores aspects of religious psychology and the interior life that are barely touched by the other films listed here. Go there if you dare.

Nasty Habits (Michael Lindsay-Hogg, 1977)

It wasn’t long Jackson got another chance at playing a nun, and this time she accepted the offer: Nasty Habits is based on Muriel Spark’s novel The Abbess of Crewe: A Modern Morality Tale (1974), which took the then highly-topical story of the Watergate scandal (1972-74) and transposed its component parts into a Benedictine convent where a power-hungry nun is plotting to fix her election as abbess. The film version shifts the setting from Crewe to Philadelphia and assembled a star-studded cast that included Edith Evans as the old Abbess Hildegard whose death leaves a power-vacuum, Glenda Jackson as the ambitious Sister Alexandra (i.e. Nixon) and Geraldine Page and Anne Jackson as her accomplices Sisters Walburga and Mildred, who break into the sewing basket of her rival Sister Felicity (Susan Penhaligon) in order to steal a cache of love letters. Allegations of bugging and bribery lead to Vatican involvement, and those familiar with the Watergate story will enjoy identifying the characters and events being parodied.

Pre-election skulduggery in ‘Nasty Habits’ (1977) – a topical note on which to end this week’s blog!

Diane Arbus in Kirkcaldy

Posted on April 27, 2015February 1, 2018 by James

Following on from last week’s post, during our stay in Fife I was surprised (but why?) to find that the council-run Kirkcaldy Galleries was hosting an exhibition of the work of photographer Diane Arbus (1923-71.) It reminded me of my visit to the island of Capri five years ago, when I stumbled across an exhibition of original Leni Riefenstahl prints in a small room tucked away in a cobbled alleyway behind a church. It had the added bonus of being free, as is the one in Kirkcaldy.

Exhibition poster. The photograph shown is Arbus’ ‘A Young Man and his Pregnant Wife in Washington Square Park, New York City’

Born into a wealthy Jewish family of the name Nemerov, Diane began using a camera in partnership with her husband Alan Arbus, running a fashion photography business. From making images of conventional beauty and desirable opulence, she gradually moved away to concentrate on those at the opposite end of the social spectrum – those on the margins of society, including circus performers, transvestites and people with physical deformities – including the sort of human zoo pictures that I wrote about in an earlier post. In the last two years of her life, she was allowed access to mental institutions where she produced a series of images – both poignant and disturbing – of the mentally impaired inmates.

‘A Jewish giant at home with his parents in the Bronx, N.Y’

‘Jack Dracula’, photographed in New London, Connecticut, in 1961

A Child Crying, New Jersey 1967

The image above, like the majority of Arbus portraits, is taken face-on, so that the viewer has a direct confrontation with the subject of the photograph. It is this aspect of her work, as much as the content matter, that is so unsettling. There is no opportunity to avert the eye, to focus on another portion of the image and try to alter the perspective. Unlike her early fashion shoots, these are not contrived studio sessions but are taken in the sitters’ own homes, institutions or workplaces, so that it is we who find ourselves in unfamiliar settings, alienated, confronted with people and places that may make us uncomfortable. The fact that many of her sitters appear quite at ease with their physical or mental awkwardness, or even proud of their disfigurements, challenges us to identify who it is that has the real problem.

However, not all the sitters appear comfortable with being photographed, and in the case of those with severe mental disabilities it is evident that their consent was never – and could never – be obtained. The photographer’s troubled life – after several bouts of depression Arbus committed suicide at the age of 48 – invites connections with these images of loneliness, marginalisation and suffering. Does evidence of her own unhappiness demonstrate a degree of affinity or sympathy with those she photographed? There is an honesty about her photography that undermines accusations of voyeurism or exploitation, although such charges have been made. Influential critic Susan Sontag expressed her unease about Arbus’s work in her 1973 New York Review of Books article ‘Freak Show’, which was later revised to form the central essay in On Photography (1977.) Surprisingly, for such a respected writer, Sontag never really strikes home with any critical insight about Arbus’s work. The essay is effective in articulating Sontag’s negative response, but reveals little about the photographs themselves. Her main charge – that of a lack of compassion – has ‘stuck’ nonetheless, and it is no simple matter to dismiss.

One might argue that developing a ‘lack of compassion’ is an occupational hazard for any photographer working in the documentary tradition, particularly those commissioned to record scenes of suffering in war zones or disaster areas. Maintaining a high degree of detachment is essential for professional standards: but where does one draw the line? And does the practice of enforcing such discipline not run a risk of psychological self-harm? The story of Kevin Carter (1960-94) remains a salutary warning; the life, work and death of the South African photographer was dramatised in the film The Bang-Bang Club (Steven Silver, 2010) and inspired Alfredo Jaar’s unbearably moving art-installation The Sound of Silence (2006.)

Diane Arbus’s life has also been depicted on the big screen, providing the inspiration for the film Fur (2006) directed by Steven Shainberg. Like his earlier Secretary (2002) it is an audacious portrayal of a woman’s unorthodox desires, but as a portrait of Arbus it is unsatisfactory. Those wanting to know more about her should begin by studying her photographs – and for anyone in the region of Kirkcaldy, their exhibition remains open for another month, until the end of May.

Nicole Kidman as Diane Arbus in ‘Fur’ (Steven Shainberg, 2006)

The real Diane Arbus

For those interested in seeing more of Diane’s images, along with information about gallery exhibitions and sales of her work, check out this Diane Arbus page on the Artsy website.

The Song of Bernadette

Posted on April 16, 2015October 22, 2020 by James

Jennifer Jones in ‘The Song of Bernadette’ (1943)

Today is the feast day of Saint Bernadette Soubirous, whose name is inseparable from Lourdes, the French town in which she claimed to have seen a series of apparitions of the Virgin Mary in 1858. Almost immediately, crowds of the devout and the curious began assembling at the spot in the hope of seeing something themselves, and after Bernadette unearthed a hidden spring, it was not long before the healing waters of Lourdes became an international site of pilgrimage. She herself left Lourdes and became a nun, joining the community of the Sisters of Charity of Nevers hundreds of miles to the north. As Sister Marie-Bernarde, she died at the convent of Saint Gildard in Nevers on this day in 1879, aged only 35.

Bernadette’s story has inspired countless books and works of art but today I wanted to write a short post about the film The Song of Bernadette (Henry King, 1943), starring Jennifer Jones as the young visionary.

The film was based on a book, Das Lied von Bernadette, by Franz Werfel (1890-1945), an Austrian Jew who had taken refuge in Lourdes for several weeks while fleeing from the Nazis in 1940. During his time there he heard firsthand tales of the apparitions from older inhabitants of the town, and determined to write about Bernadette if he escaped. True to his word, he completed the novel not long after he and his wife found safety in America. The book was published in German in 1941 (the title page of the first edition is dated Los Angeles, May 1941), followed by an English edition – translated by Ludwig Lewisohn – the following year. It was enormously popular, topping the New York Times bestseller list for weeks on end, and Hollywood producers were not slow to see the potential. The rights were snapped up by 20th Century Fox and workmen began constructing a mock French village on the back lot of the studio. Filming began in March 1943.

Given the popularity of the book, there was intense anticipation as to who would play the part of Bernadette. Gene Tierney, Anne Baxter and Linda Darnell were among those who did screen tests, but the coveted role was given to newcomer Jennifer Jones, whose only screen performances to date had been minor parts in the John Wayne western New Frontier (George Sherman, 1939) and the serial Dick Tracy’s G-Men (John English & William Whitney.1939), both under her real name of Phyllis Isley. At the age of 24 and possessing a youthful fresh-faced beauty, she gave a convincing performance in portraying the fourteen year old Bernadette.
The Virgin Mary was played by Linda Darnell, soon to appear in the racy Forever Amber, and at that time engaged in a scandalous affair with 20th Century Fox boss Darryl F Zanuck.

Linda Darnell as the Virgin Mary

Sadly, Jones’s married life was far from happy at this time. While still in her teens in 1939 she had married actor Robert Walker, with whom she had two young sons. Both actors were struggling until they came to the attention of MGM producer David Selznick, who gave Walker a contract, changed his wife’s name to Jennifer Jones and set her on a course for movie stardom. His plans for her were not disinterested, however, and their affair led to her separation from Walker in November 1943, a few weeks before Song of Bernadette was released in time for Christmas.

Jones and Selznick

Srs. Marie-Bernarde (Jones) and Marie-Therese (Gladys Cooper) in a poignant scene

On 2 March 1944, her 25th birthday, Jones was awarded an Oscar for her performance, winning out against Ingrid Bergman in For Whom the Bell Tolls. The Swedish actress was gracious in defeat, and the following year Jones was able to hand Bergman the Oscar for Best Actress in honour of her role in Gaslight (1944), MGM’s remake of the Anton Walbrook masterpiece of 1940.

Jennifer with her 1944 Oscar – her only one, despite being nominated on four subsequent occasions

Jennifer’s Oscar should not eclipse excellent performances given by other members of the cast, such as Gladys Cooper as Sister Marie-Therese Vazous and Vincent Price (below) as Prosecutor Vital Dutour, whose hostility towards Bernadette’s piety drives him to interrogate her without mercy in the hope of revealing her to be a fraud – although he is nowhere near as cruel an Inquisitor as Matthew Hopkins, whom Price would play in Witchfinder General (Michael Reeves, 1968.)

Vincent Price as Vital Dutour

In reality, Dutour was as much a Catholic as Bernadette, and the portrayal of Dutour as irreligious is just on example of the way that the film follows Werfel’s fictional embellishments. The novel is a thick tome of almost 600 pages, and the author used the story to explore related themes about religious experience, attitudes to the supernatural and the nature of miracles, weaving these into a multi-layered narratives of events that took place at the shrine long after the apparitions. One of the film’s flaws is the inclusion of too much of this material, which slows the pace and drags its length out to almost two and a half hours.

Other characters include the parish priest of Lourdes, Abbé Dominique Peyramale, played by Christopher Bickson who would reprise the role in a 1954 radio version. Bickson’s untimely death in 1967 so distressed Jennifer Jones that she attempted suicide. Selznick, whom she had married in 1949, had died in 1965 and their daughter Mary committed suicide in 1976. The third act of The Song of Bernadette depicts the saint’s suffering under humiliation and terminal illness, exploring the possibility that her trials may have been redemptive in nature; one can only wonder if the actress found any such meaning in the troubled years of her later life. Lee J. Cobb (Doctor Dozous) is perhaps better known now for his role as Lieutenant Kinderman in The Exorcist (William Friedkin, 1971), which is one of the very few other Hollywood movies to take the supernatural aspects of religion seriously.

The subtle, almost understated handling of religion in The Song of Bernadette works in the film’s favour, keeping the human drama to the fore; it would have been so easy to sink on the one hand into saccharine sentimentality and on the other into strident piety repellent to a large part of the potential audience. Jennifer Jones’s performance brought out the elements of innocent dignity and strong-willed simplicity Bernadette’s contemporaries saw in the girl, although it is another weakness of the film that the more complex and ambiguous elements of her story are omitted. Those who wish to learn more about the discordant notes in ‘the song of Bernadette’ might like to read Ruth Harris, Lourdes: Body and Spirit in a Secular Age (Allen Lane, 1999) or Therese Taylor, Bernadette of Lourdes: Her life, death and visions (Burnes & Oates, 2006.)