'The Nun's Story' at Metropolitan Praised for Sensitive Portrayal

The general public is given a long (149-minute) look into the never-never land behind convent walls in the film version of Kathryn Hulme's best seller, The Nun's Story, now showing at the Metropolitan. To this reviewer the film appears as the most reverent and sensitive interpretation of Roman Catholic convent life yet given movie-goers. It towers above those stereotyped Roman Catholic nuns and priests perpetuated in Going My Way and Come to the Stable. It would be no surprise if Audrey Hepburn, who plays Sister Luke, and director Fred Zinnemann were given Academy Awards for their contributions to this film, which should become a Hollywood classic.

From an artistic point of view, the picture is exceptional. Words are used as if they cost money. Much of the story is told through the camera lens by hands, lips, eyes, gestures. The film could easily have been sensationalized. Restraint and tasteful selection should be credited to Robert Anderson, who did the script.

The movie is bound to evoke interest and curiosity. The public will ever have a curiosity as to what goes on behind convent walls. The life of a nun will forever be a mystery to most; and this film gives a sensitive and dignified interpretation. For those unfamiliar with Roman Catholic ritual, many of the ceremonies will appear impressive. To those unfamiliar with religious life, much of the metamorphosis from girl of the world to cloistered nun will appear distasteful. Perhaps there is negative emphasis here. Convent life appears as a series of "cannots" and a continual warfare against human nature, but military cadets are subject to rigorous and sometimes incomprehensible discipline also.

There is little joy in the film because there is little joy in the book. Sister Luke rarely smiles. Where is the laughter of convent gardens, which has been called "the purest in the world"? After many years in which Sister Luke makes a grim effort to be a perfect nun and instead becomes a perfect nurse, she leaves her convent. The conflict as to "why" is not stressed so strongly in the film as in the book; the audience is left to ponder the "why." Her confessor in a darkened confessional scene tells Sister Luke that she is too hard on herself. It is difficult for her to accept a change in assignment from Belgian Congo to convent headquarters. It is difficult for her to love the enemy that has killed her father.

Dame Edith Evans as the sympathetic superior general is superb, and she adds a warm human element to the austerity of the film. Peter Finch, the atheistic doctor in the Congo, rattles Sister Luke with his outbursts that question her vocation to be a nun and needle her about her religion and convent rule. Peter Finch and Dean Jagger as Sister Luke's surgeon-father are both excellent contrasting contributors to the nun's saga.

Moviegoers who will build their concept of convent life on this movie should know that this is the story of a European order of nuns, and it is the story of a nun who did not remain. It is a flawless artistic presentation.