'Black Narcissus' (1947) - Film Review

Figure 1 Black Narcissus (1947) [Poster]

This review analyses Michael Powell and Emeric Pressburger’s well known melodrama Black Narcissus (1947), explicitly looking at the subject of orientalism and how this relates to character of Kanchi within the film. Referring to the work of Edward Said’s publication ‘Orientalism’ (1978) focusing on the expression orientalism and what it means, Veronica Parkes’ article ‘The Imperial Harem of the Ottoman Empire: More than Just Beautiful Women’ (2017) focusing on the importance of harem within oriental culture and how this then influenced narratives within western culture, Sarah Street’s book ‘Black Narcissus: Turner Classic Movies British Film Guide’ (2005) centring around the character of Kanchi and how she is presented within the film, then lastly Shalane Degruyter’s informative video called ‘Kanchi: Sexuality in Black Narcissus’ (2009) prominently focusing on Kanchi and how she symbolises orientalism. The review will explain the meaning of orientalism, using Kanchi as a prime example shown within the film itself and how orientalism is reflected in the film.

Black Narcissus (1947) focuses around a small group of nuns led by Sister Clodagh * Deborah Kerr*, that are sent to turn an old palace (previously known for housing women) up in the Himalayas, into a school and hospital. However, their focus slowly shifts as they start to question themselves and their choices which is assisted by the influences of Mr. Dean *David Farrar*, Young General *Sabu*, and Kanchi *Jean Simmons*. How will this affect the nuns that have supressed themselves for so long?

Figure 2 J. Gérôme. (1879). The Snake Charmer and His Audience. [Oil Painting]

Orientalism is a term first created and used by Edward Said who wrote a book a book entitled ‘Orientalism’ (1978). The expression orientalism is way in which one imagines, enhances, exaggerates and distorts the difference of Arab culture in comparison to Europe and the U.S.

Arab culture is depicted and portrayed as being very exotic, isolated, and uncivilized. (Arab American National Museum (2014)). This can be shown in an oil painting called ‘The Snake Charmer and His Audience’ (1879) by Jérôme, which showcases the distorted depictions of this ‘stereotype’ that the West envisioned. (see fig 2)

In Said’s’ outstanding publication, he even defined it as it being the West’s acceptance of “The basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning the Orient, its people, customs, ‘mind,’ destiny and so on.” (E. Said (1978) p. 10-11) Said is highlighting the rationalisation, of which European colonialism based itself on a ‘self-serving history, where the East was seen as somewhat inferior to the West, thus in need salvation.

Said also wrote “Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient-dealing with it by making statements about it. authorizing views of it. describing it, by teaching it, settling it, ruling over it: in short. Orientalism as a Western style for dominating, restructuring, and having authority over the Orient” (E. Said (1978) p. 3) which is shown through the form of moving picture in the film Black Narcissus (1947).

Black Narcissus (1947) included themes such as harems as this was a big cultural difference that intrigued and sparked the imagination of many creators. “The obsession with breaching this particular cultural barrier became one of the defining features of European interaction with the Middle East, leading to a rich production of visual art and textual narratives that imagined in vivid yet inaccurate detail, the forbidden mysteries of the harem” (T. Herath, (2016)).

The term harem is usually associated with the depiction of a large group of beautiful women, whose purpose is to serve and please their captor sexually.  However, the harems during this time period were much more than that. Between 1299 and 1920, the sultan’s harem consisted of wives, servants (male and female), female relatives and concubines. Not only did the women serve to entertain, but they ran the household and had a hand in governing the Ottoman empire. Often referred as the” Reign of Women”, as they played an important role within the Ottoman government, it led them to gain more power than they had prior. (V. Parkes. (2017))

Figure 3 Exotic murals of concubines in the film Black Narcissus (1947) M. Dessem. (2009).

A clear example of this concept of harem being shown with the film is at the beginning. The camera pans around the old palace of the Old General which is elaborately decorated with exaggerated exotic, distorted murals of young women, who are seen to be naked in different poses. (see fig 3) “(the West) often involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous” (Arab American National Museum (2014)) This links back to the idea of the East being seen as uncivilised in terms of how the women are portrayed within the murals with lack of clothing and decency.

It can be said that the murals within the palace also share a similar physical resemblance to the character of Kanchi within the film. “(Kanchi has a) physical similarity to the women in the erotic paintings” (S. Street (2005)). Street highlights the connection between the mural depictions of the oriental women, and appearance of Kanchi the character. Kanchi depicts racialized desire within the film, the murals reinforce how primitive the natives of the place are as they reduce the women to sexual objects. Even upon first introduction within the film, Kanchi is brought in with exotic orientalist music, highlighting her as an outlandish symbol of sexual desire within the film.

Figure 4 Jean Simmons as Kanchi in 'Black Narcissus' (1947) 

The only colour worn by the women in the murals is red, which is a colour that is most commonly seen on Kanchi. (see fig 4,) this can symbolise various meanings, for instance, red can be seen as a sign of danger but can also be seen as a very passionate and lustful colour. This is understandable in context of Kanchi, as she is often  shown to be a flirtatious character within the film. For example, There is a scene within the film where Kanchi is wearing red and gazing upon the young general, trying to capture his attention. (see fig 5)

Figure 5 Kanchi flirting with Young General Black Narcissus (1947) [Still] 

However, as Kanchi is a distorted and exaggerated depiction which has been over sexualised, there is then a huge contrast between the nuns and her. Visually in terms of costume, Kanchi’s attire consists of very rich, bold colours, that solidifies that exotic stereotype. (see fig 6) On the other hand, Sister Clodagh wears all white signifying her purity, the opposite to Kanchi who is arguably not pure due to the different colours tainting her appearance.

Figure 6 Sister Clodagh and Kanchi -The Guardian. (2010)

“The young Indian girl who brings the world, the flesh and the devil, into the nuns ‘retreat’” (S. Street (2005)) This quote indicates how contrasting the two characters are not only in terms of looks but also in terms of personality, and what they represent. This can include the contrast between Sister Clodagh representing the West and being shown as virginal. While Kanchi represents the ‘opposite’ being the East and symbolising a sexual object. Yet, in this scene (see fig 7) the two characters seem to mirror each other, almost as if one cannot exist without the other, similar to how the West cannot exist without the East.

Figure 7 Mirroring each other Black Narcissus (1947) [Still]

In conclusion, the orientalist view on women was very over sexualized stemming from the idea of Otto Harem, which is shown through the murals in the beginning of the film, that share physical attributes to the character of Kanchi and how she is depicted, which is through an orientalist perspective. This then had a massive effect on how Kanchi was portrayed within the film, with her wearing bold colours, and being very flirtatious with different male characters. This then creates a large contrast between Kanchi and the nuns who arguably represent the East and the West and their differences at the time when orientalism first began.

Harvard Illustrations List

Figure 1 Black Narcissus (1947) [Poster]. Available: https://www.imdb.com/title/tt0039192/mediaviewer/rm3595304448 Last accessed on 17th November 2018

Figure 2 J.Gérôme. (1879). The Snake Charmer and His Audience. [Oil Painting] Available: https://smarthistory.org/orientalism/  Last accessed 18th November 2018.

Figure 3 Exotic murals of concubines M. Dessem. (2009) Black Narcissus. Available: http://criterioncollection.blogspot.com/2009/08/93-black-narcissus.html  Last accessed 15th November 2018.

Figure 4 Jean Simmons as Kanchi in 'Black Narcissus' (1947) -R. Bright Carroll. (2018). Jean Simmons as Kanchi in 'Black Narcissus', 1947 - Directed by Michael Powell & Emetic Pressburger. Available: https://www.pinterest.co.uk/pin/210965563778500459/  Last accessed 15th November 2018.

Figure 5 Kanchi flirting with Young General Black Narcissus (1947) [Still] -Sdegruyt. (2009). Kanchi: Sexuality in Black Narcissus. Available: https://www.youtube.com/watch?v=rmDVkkp6UGY Last accessed 18th November 2018.

Figure 6 Sister Clodagh and Kanchi -The Guardian. (2010). Jean Simmons: a life in pictures. Available: https://www.theguardian.com/film/gallery/2010/jan/24/jean-simmons  Last accessed 15th November 2018

Figure 7 Mirroring each other Black Narcissus (1947) [Still] - Sdegruyt. (2009). Kanchi: Sexuality in Black Narcissus. Available: https://www.youtube.com/watch?v=rmDVkkp6UGY Last accessed 15th November 2018.

Bibliography

A. Mohd Ramli (2011). “Contemporary criticism on the representation of female travellers of the Ottoman harem in the 19th century: A review,” [Book] Intellectual Discourse 19: 265Beaulieu, J. (2003). Orientalism's Iterlocutors. Duke University Press

Arab American National Museum. (2014). WHAT IS ORIENTALISM? Available: http://arabstereotypes.org/why-stereotypes/what-orientalism  Last accessed 17th November 2018.

Edward Said (1978). Orientalism [Book]. New York: Pantheon Books. Page: 3, 10-11.

N/A. (2016). BLACK NARCISSUS (1947). Available: https://seeingthingssecondhand.wordpress.com/2016/07/10/black-narcissus-1947/  Last accessed 15th November 2018.

S. Degruyter. (2009). Kanchi: Sexuality in Black Narcissus. Available: https://www.youtube.com/watch?v=rmDVkkp6UGY Last accessed 15th November 2018.

S. Street (2005). Black Narcissus: Turner Classic Movies British Film Guide. [Book] (N/A): I. B. Tauris. 38.

T. Herath, (2016) “Women and Orientalism: 19th century Representations of the Harem by European female travellers and Ottoman women”, [Book] Constellations, 7(1), Page: 32.

V. Parkes. (2017). The Imperial Harem of the Ottoman Empire: More than Just Beautiful Women. [Website] Available: https://www.ancient-origins.net/history-ancient-traditions/imperial-harem-ottoman-empire-more-just-beautiful-women-007835  Last accessed 15^th November 2018.