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(More customer reviews)"The Nun's Story" is probably Audrey Hepburn's best film and by far the one which shows to best effect her enormous acting talent. It is the autobiographical tale of Sister Luke, a very young Belgian nun, who enters the convent at age 17 for specifically the wrong reason: her doctor father refuses to let her marry the young man she loves because there is insanity in his family background. She won't admit to him, as she is too young to admit it to herself, that her underlying reason in entering the convent was to spite her father, who believes women have a duty to marry and have children, but he is powerless to oppose her in this; he can prevent her from marrying her fiance, but who is he to defy God? Sister Luke, as played by Hepburn, wins us over instantly: she's generous, open-hearted, all or nothing, trying and failing and trying again, expecting too much of herself, wanting to fit in to the routine of her cloister, but feeling stifled by its constraints. The atmosphere of the convent is brought so vividly to life that we feel the conflicts pulling her in opposite directions: the peace and serenity that are embodied in the Reverend Mother Emmanuel (Edith Evans is so great in this role that she doesn't seem to be acting at all), and the incessant weight of seemingly arbitrary and nonsensical rules and regulations that attempt to crush all individuality and spontaneity. The pivotal conflict arises in the first half of the movie, when Sister Luke is asked by her Mother Superior to fail a qualifying examination for a nursing post in the Congo so that a less gifted nun can have her place, and Sister Luke has to make a choice: her failure will be a gift from God, but her success in the examination will win her a position in the Congolese hospital where her talents can be most fully utilized. And this is where Sister Luke has to face her inner dilemma: the convent, with all its rules and regulations, hasn't managed to crush her individuality -- she is too much her own person to let go of herself.
It is in the Congo that Sister Luke comes into her own. She falls in love with the country and its people as soon as she steps off the boat. She is sent to the European hospital to assist Dr. Fortunati, a brilliant, cynical surgeon who immediately sees through Sister Luke and understands her better than she understands herself. The meeting of minds between these two is awesome to watch and in itself makes the movie worth seeing. Dr. Fortunati, brilliantly played by Peter Finch, tells Sister Luke time and again that she will never be the kind of nun her convent expects her to be. The sexual tension between the two is evident but downplayed; Dr. Fortunati knows it's impossible and Sister Luke simply refuses to acknowledge it. The climax comes when Sister Luke is ordered back to the mother house in Belgium, and we suspect that Dr. Fortunati may have had a hand in it, to force her to face up to the fact that she is more nurse than nun.
The year is 1939 and World War II is about to begin. Sister Luke, chafing at the constraints of the mother house, is drawn into the war in ways her convent never imagined or would sanction. She assists a young lay nurse, who looks up to her as a role model, to work for the Resistance. She is glad when a German woman dies in the convent hospital. And she is finally forced to see inside herself and realize that while she may be able to accept chastity and poverty, obedience is impossible. At this point Sister Luke realizes she can no longer go on living a lie. The scenes in which her confessor and Reverend Mother Emmanuel attempt to dissuade her from leaving the convent are the most powerful in the film. "You joined the convent to be a nun, not a nurse", remonstrates Reverend Mother. But this is precisely where she's wrong; Sister Luke is much more a nurse than she will ever be a nun. After 17 years at war with herself, Sister Luke signs the papers severing her from her convent, and goes out into the world.
Hepburn's performance in a role which demands so much from her is incredible; we not only feel but share all her conflict and inner pain. There is no way she could come across as a plain, mousy nun (Hepburn would be drop-dead beautiful even in a burlap sack) but her acting is so convincing that we forget she is the gorgeous Audrey Hepburn and see her only as a soul in torment. Peter Finch is excellent as Dr. Fortunati and all of the minor characters are very well portrayed, but the real soul of the movie is Edith Evans as Reverend Mother Emmanuel, concerned with the spiritual health of her flock, and despairing yet fatalistic as one of her flock inexorably slips away. The movie is long (two and a half hours) but it's never boring; it grabs our interest from the opening frame and holds it to the final frame in which Hepburn turns a corner out of the convent grounds and out of our sight. The one jarring note, especially after 40 years, is the patronizing paternalism of the Belgian colonization in the Congo; except for the education and medical care provided by the Church, the cruelty of Belgian colonial occupation was legendary and makes us wonder what Sister Luke's fate would have been if she had returned to the Congo after she left the convent. At the end of the film we are left with great respect and admiration for an incredibly strong yet fallible young woman whose journey to self-knowledge is a life-long project.
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Story of Gabrielle Van Der Mal, who gives up everything to become a nun, facing incredible odds in the Congo and then at the mother house in France at the outbreak of World War II.
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