- 1:00 3:10 5:20 7:30 9:40
$7 Member $12.50 Regular
Directed by Michael Powell and Emeric Pressburger
Starring Deborah Kerr
DCP Restoration by ITV Studios Global Entertainment
Supervised by Jack Cardiff and Thelma Schoonmaker Powell
(1947) New assignment for Deborah Kerr’s Sister Clodagh and her order of Anglican nuns, including Dame Flora Robson and troubled Kathleen Byron: create a convent, school and hospital in a former palace once home to a prince’s concubines — 9,000 feet up in the Himalayas. And as the winds whistle and a bell clangs above dizzying drops, and as Sabu cavorts, native girl Jean Simmons shuns rehabilitation, and short-shorts clad agent David Farrar makes cynical remarks, the sense of repressed sensuality and chilly mountain bleakness becomes palpable. Shot mostly on Alfred Junge’s incredible, Oscar-winning studio-built settings, Powell & Pressburger’s adaptation of the Rumer Godden novel climaxes with Powell’s first pre-Red Shoes experiment in “composed film” — the 10-12 minutes leading up to the finale were shot, stop-watch in hand, to a pre-composed score, all in the dramatically-lit Technicolor which won DP Jack Cardiff an Oscar as well. Approx. 99 min. DCP.
A PARK CIRCUS/MGM RELEASE
"A TRIUMPH OF COLOR… that exaggerated atmosphere, an odd blend of mountain clarity and tropical languor, is nowhere to be found in nature but in cinema only. See this great film as it was meant to be seen - on the big screen."
– The New York Times
"That great duo of stylized cinema, Powell and Pressburger, shot their classic dark-comic melodrama mostly on British studio sets, and the film’s very falseness – those matte-painting vanishing perspectives and cinematographer Jack Cardiff’s harshly exaggerated lighting cues – creates a psychologically charged space in which an ungodly tragedy can unfold."
– Keith Uhlich, Time Out New York
“RUN, DON’T WALK... SEEING IT RESTORED ON THE BIG SCREEN BRINGS A SUGAR-RUSH OF PLEASURE!”
– The Guardian
“An immersion in the sheer pleasure of artifice... The casting contributes to this aura of make-believe, as does the visual excitement of the sisters’ faces illuminated by the light reflected from their habits, or the orchestration of color, light, and motion into a slowly building symphony of reds, blues, deep greens, and blinding whites.”
– Kent Jones
“With each fade to black, you can see Deborah Kerr’s eyes become, subliminally, twin gimlet gleams in the dark... Kathleen Byron’s final appearance in the film, gaunt and wraithlike, is still one of the scariest moments in British cinema history.”
– Peter Bradshaw, The Guardian