Joan Webster, a headstrong young Englishwoman, goes to the remote Scottish Hebrides to marry her older, wealthier fiancé. When the weather keeps them separated on different islands, she meets Torquil McNeil and begins to have second thoughts.
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I did not enjoy it as much as Powell and Pressburger's other films. The main character was annoying especially in the latter part of the film. The editing seemed to frantic at times, but maybe that's to represent her desire in getting married. The cinematography was beautiful, I have to admit. And the introduction to northern Scotland was wonderful. This is between 3.5 and 4 stars for me.
Another masterpiece from The Archers, this film is an exquisitely photographed mood piece that shows Powell and Pressburger at the height of their powers. It also has one of the best scripts they worked with deftly combining romance, satire, and gothic drama. Of course all of the actors are amazing. It's like a tasty little gumdrop.
Seems clearly meant to put women back in their place after the war as a fine thanks for picking up the slack and doing men’s work as well as men, and women’s work on top of that. Even forgetting all that—and we’re talking an inexcusable sexist mountain of shite—it’s an egregiously bad film. Movie buffs are delusional nostalgic lemmings. The worse the cliche the more they swoon and rave.
Ici encore, une nouvelle fois, le réalisateur Michael Powell prouve qu'il sait, mieux que tout autre, capter la force de la nature et d'un milieu envoûtant et transcrire son action sur "une âme qui fait fausse route". Une sympathique curiosité !
Beautiful at parts, but mostly because "Black Narcissus" is basically a remake of "I Know Where I'm Going!", it really tastes like little. "Black Narcissus" has probably the most erotically charged shots ever thought through cinema, even in an art form with such daring creators such as Sternberg or Buñuel. If we recall that that movie is about nuns, how the hell can we even compare "I Know Where I'm Going!"?
As good an illustration as any of the magpie-like eccentricities of The Archers' ability to fuse fable and romanticism, vacillating between stridency and whimsy - and for sheer cheek they make it work. Belief in what you're doing is half the battle: witness the zesty playing, crisp cinematography and unforced direction. Credit should be given to the benevolent financing of Rank during this extraordinary period.