Black Narcissus
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| Fig 1 |
Black
Narcissus (1947) is a British film directed by Michael Powell and Emeric
Oressburger. The script was adapted from a novel written by Rumer Godden. The
use of the paint over technique on glass is extremely impressive and realistic and
convince the audience that you are within the scene, even though it was filmed in studio's. When looking at the production design for this scene Michael
Howelles had explained how they use the matte painting effect to create
realistic sets, ''“The glass painting
technique involved hanging a sheet of glass between the camera and the scene,
and painting in the view you needed.” (Howells, 2011). Similar techniques had been used
in earlier films such as the original King Kong and began to make it's way into
this film too. As you can see in figure 2 this technique had created very
believable sets that were only paintings on glass. Colour had played a vital role
within the film with the colour red becoming more vibrant over the course of
the film.
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| Fig 2 |
After the half way point of the film it is apparent that the
colour red is starting to overcome the scene. This notion of red becoming
almost a 'fever' is described by Michael Mirasol in his film review, '' But it is in the second half of the film
where Powell's use of Technicolor is stunning. The introduction of the more
vibrant hues dominate the film. The use of red is feverish'' (Mirasol,2010).
In figure 3, you can see the indian girl is the first to introduce the red into
the colour palette representing love and lustre, everything a nun shouldn't be.
But later on in the film Sister Ruth finds herself wearing a completely red
outfit similar to the picture,after that it seemed as though the nun's were suffocated with the overpowering red colour palette,
with tightly fitting red dresses and red lip stick both classic signs of love and sexuality and a complete opposite of how nun's are.
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| Fig 3 |
Although red is a symbol of love, it is also a symbol of danger
and this film could categorized as a horror film with it's unearthly sets, howling
winds and the sisters slowly losing their sanity. As Keith
Uhlich says in his review; "There's something truly unearthly about
this place of howling winds, yawning chasms and atmosphere thick with
temptation." (K. Uhlich, 2012) this is what most contemporary audiences
recognise with this film. Although it is not structured like most horror films,
it is very slow but as the film goes on to when Ruth becomes over powered by
lust the film turns a lot more dramatic and then you can feel the tension
between the characters.
Overall this
film is a great experience and the use of matte paintings can make the audience
believe the scene is real without having to shoot the scene in a specific
location. You can see the influence the artists had on this film also with the
use of red flowing into the scene's to give the sense of love, sexuality and
danger towards the characters.
Fig 1. Black Narcissus Poster (1947) From: Black
Narcissus - Directed by: Michael Powell & Emeric Pressburger
http://www.doctormacro.com/Images/Posters/B/Poster%20-%20Black%20Narcissus_01.jpg (accessed
on 13/12/2013)
Figure 2 Behind the Scenes – Matte Painting [Still Image] at
http://2.bp.blogspot.com/-POQQriBHS-I/Th5lb9ec0aI/AAAAAAAAFTU/0qmNqqwv1Zs/s640/black+narc1.jpg
(accessed on 13/12/2013)
Fig 3, Black Narcissus
[Film Still] from: Black Narcissus
- directed by Michael Powell & Emeric Pressburger. At: http://www.rogerebert.com/far-flung-correspondents/black-narcissus-which-electrified-scorsese
(Accessed on 13/12/2013)
Bibliography
Mirasol, M. (2010) Black
Narcissus Review
http://www.rogerebert.com/far-flung-correspondents/black-narcissus-which-electrified-scorsese (Accessed
on 13/12/2013)
Howells, M. (2011) Production
Design in Black Narcissus
http://guru.bafta.org/behind-mask-production-design-black-narcissus (Accessed
on 13/12/2013)
K. Uhlich (2012) Black
Narcissus Film Review (Accessed
on 13.12.2013)
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