The Nun's Story (film)

Warner Brothers was in touch with the Production Code Office as early as March 23, 1956, regarding a possible film adaptation of The Nun's Story. Warners provided Jack Vizzard of the Production Code Office with a 20-page synopsis of the novel, which had yet to be published.[4] Vizzard became one of the production's early allies. The first step of development was domestic approval, ensuring that the film could be released in the United States. Vizzard initially suggested only two mandatory changes. In particular he objected to the scene in which Sister Luke's clothes are torn off by a mental patient passing as the Archangel Gabriel and a discussion of anal suppositories. More generally Vizzard wondered if the film's themes might alienate Catholics.[4]^: 22

The novel was published on June 1, 1956, to great acclaim. Although the book was popular among devout followers of many religions, it proved somewhat divisive: Some praised its intimate and empathetic view of religious conviction, and others worried that it might discourage potential postulants. One vocal proponent was Harold C. Gardiner, the literary editor of the Jesuit Magazine America.[5]

Drive-in advertisement from 1959.

On September 12, 1956, Columbia Pictures also reached out to the Production Code Office regarding The Nun's Story. The Production Code Office replied by forwarding the same memo that had been sent to Warners with an additional postscript warning of religious disillusionment.[4]^: 23-33 Eventually Warners secured the rights to the book, and Robert Anderson and Fred Zinnemann signed to write and direct the film. Zinnemann had been introduced to the source material by actor Gary Cooper, and he was immediately interested in an adaptation. Reportedly there was little traction from studios until Audrey Hepburn expressed her interest.[6]

On August 14, 1957, Warners submitted the script for The Nun's Story to the Production Code Office. It was reviewed in conference with Monsignor John Devlin, the head of the Los Angeles chapter of the National Legion of Decency. One conclusion was that "The present script, although being substantially acceptable, lacked showing some of the true and proper joy of religious life. It contains a somberness of mood that approaches the Jansenistic. An effort will be made to supply the one and eliminate the other." Some specific criticisms were entered, and it was suggested that an effort be made to show that Gabrielle enters religious life with a false ideal and that she is essentially not cut out to be a nun, a common Christian framing of the source material.[4]^: 34-35

With progress being made on the script, the production turned its attention to Europe, where the film was shot, and where cooperation with religious organizations was crucial. Producer Henry Blanke soon learned that the Catholic Church in Belgium were not impressed with the book, finding it injurious to religious vocations, and it would not cooperate with the production in any form.[4]^: 37-38 After recovering from an automobile accident, John Vizzard went to work on his European connections, hoping to convince Leo Joseph Suenens, auxiliary bishop of Mechelen to relinquish his objections. Father Leo Lunders helped facilitate these conversations.[4]^: 40-48 In September 1957, Lunders asked the Belgian Office of Warner Brothers who would be cast as Doctor Fortunati. Lunders objected to the proposals of Montgomery Clift and Raf Vallone, suggesting someone older.[4]^: 49 Vizzard traveled to Europe in October 1957 to help with negotiations. At this point, Harold C. Gardiner became aware of the production and lent his enthusiasm and support. Together with Lunders, who soon was contracted as the film's ecclesiastical advisor, Vizzard won over Monsignor Suenens, but still needed to convince the Mother General of the Sisters of Charity of Jesus and Mary in Ghent.[4]^: 50-64 The Sisters provided a lengthy set of objections and their own version of the script. Many of these suggestions were in some way accounted for. For example, the Sisters did not want the film to feature the clickers that they typically used to signal each other. They worried that European audiences would find this strange or even comedic. Eventually the Sisters agreed to allow observation of their order and guidance for the production. They wanted their help to remain private and refused to appear on camera. With support growing, the cast and crew began to make their way to Europe for preparation and photography.[4]^: 65-123

The cast and crew included few if any Catholics. Fred Zinnemann was Jewish. Audrey Hepburn and Edith Evans were Christian Scientists. Robert Anderson was a Protestant, and Peggy Ashcroft was agnostic.[6] Given the eventual support of most local religious organizations, the production was able to observe and participate in many real religious ceremonies and traditions. Before principal photography, the leading actresses spent time embedded in Assumptionist Convents in Paris.

The production also corresponded regularly with Kathryn Hulme, the author of the source material. The Kathryn Hulme collection at Yale University contains 37 of these letters.[7] To prepare for her role, Audrey Hepburn met with both Hulme and Marie Louise Habets, the inspiration for the novel and film. The three spent a considerable amount of time together, apparently becoming known as "The 3-H Club". Hepburn and Habets had some surprising similarities. Both had Belgian roots and had experienced personal trauma during World War II, including losing touch with their fathers and having their brothers imprisoned by Germans.[8] Habets later helped nurse Hepburn back to health following her near-fatal horse-riding accident on the set of the 1960 film The Unforgiven.

Zinnemann also continued his usual practices of collaborating with the film's writer on the second draft of the screenplay (but not receiving a writing credit) and meeting with each major actor for an in-depth discussion of his or her character.[9]

Patricia Bosworth learned that she was pregnant on the same day that she was cast as Simone. She underwent an underground abortion immediately before leaving for Rome and began to hemorrhage while on the plane. Production was delayed as she recovered.[10]

The cast was completed by Colleen Dewhurst, making her first screen appearance and Renée Zinnemann, the wife of the director who played the assistant of the Mother Superior (Edith Evans).[11][6]

This house on the Sint-Annarei in Bruges was a backdrop of the movie

The film was shot partially in the then Belgian Congo, now Democratic Republic of the Congo with production based in then Stanleyville, now Kisangani, and some scenes shot in Yakusu, a nearby center of missionary and medical activity where cast and crew met the famous missionary Stanley George Browne.[12] Fred Zinnemann had originally intended to film only the African scenes in color, with Europe rendered in stark black and white.[13] There was originally a scene towards the end of the film depicting three men endangered by quicksand and rapidly rising water, but it was never filmed due to adverse conditions.[9]

Interior scenes for the Belgian portions of the film were shot in Rome at Centro Sperimentale di Cinematografia and Cinecittà on sets designed by Alexandre Trauner.[6] Extras for these scenes were recruited from the ballet corps of the Rome Opera company. Zinnemann wanted actors who were capable of precise and coordinated movement.[13]

Belgian exteriors were shot on location in Bruges, but the novel was set in Ghent.[6]

According to Zinnemann, composer Franz Waxman's dislike of the Catholic Church was a conspicuous influence on early drafts of the score. This is part of the reason why the final scene has no score, an uncommon stylistic choice for the era.[14] Regardless of Waxman's work, Zinnemann had always wanted the film to end in silence.[13][9]

The original theatrical trailer for the film contains a brief shot of Gabrielle and her father sitting at a cafe. The shot is an excerpt from a scene that was removed from the final cut. The scene is alluded to in the final film when Dr. Van Der Mal mentions a restaurant reservation at the beginning of the film. Zinnemann removed the scene because he felt it was redundant and hindered the pace of the film's opening.[9]

The film was recognized by American Film Institute in 2005 as a nominee for AFI's 100 Years of Film Scores[30] and in 2006 as a nominee for AFI's 100 Years...100 Cheers.[31]