Stars: Debbie Reynolds, Ricardo Montalban, Greer Garson, Agnes Moorhead, Chad Everett, Katharine Ross, Juanita Moore
Director: Henry Koster
Oscar History: 1 nomination (Best Best Scoring of Music)
Snap Judgment Ranking: 2/5 stars
The studio films of the 1960's usually have a dated feeling about them that earlier movies, particularly the musicals of the 1950's, just don't seem to have. I don't know if this is because of me psychologically projecting that these films should be more advanced or if, in their efforts to cling to continued relevancy these films went even further toward a conservative, repeated form of filmmaking. Whatever the reason, musicals from this era by-and-large feel dated and stoked with far too much "message."
(Spoilers Ahead) This particular movie, starring Debbie Reynolds as Sister Anne (the film is loosely based on the life of Jeanine Deckers, the famed "Singing Nun") is about a woman in a convent in Belgium who loves music. The convent is impressed with her singing prowess, and eventually she lands an unlikely record contract from her handsome old classmate (Everett). In the process, she becomes quite well-known around the world, and in one of those wonderful cameos that only happen in films with major stars (Reynolds was just that around the time of this film), Ed Sullivan did an extended cameo in a similar fashion to the role he played to Deckers in real life.
If it were just a series of fun hymns and Sister Anne's rise and ultimate crisis of conscience over whether to pursue fame or stay with the church, I think it could have been an interesting movie. However, there's a number of side stories involving a young boy and his sister (Ross), living in abject squalor that totally take us out of the picture. The film wants to be edgy by implying that Ross is a prostitute or pornographic model (it's dicey on which its projecting) and by randomly inserting a discussion of abortion into the center of the movie with an ancillary character (Reynolds' character, considering her occupation and the time period, is clearly pro-life). The movie gets bogged down whenever it's taking away from the music, and these political distractions seem cloying and instantly date the movie.
The supporting cast, considering their pedigree, is not particularly good either. In these sorts of situations, the star usually shines the brightest (this part, even if the film isn't too good, is tailor-made for the breezy Reynolds). Ricardo Montalban is annoying as a manipulatively cheerful priest, and we never get the sense as to whether he knows he's being so pushy and insertive in people's lives or whether it's just naivete. Agnes Moorhead plays, well, Agnes Moorhead (the same circular casting could be said for Juanita Moore). And Greer Garson spent far, far too much time watching Peggy Wood to prepare for her role as Mother Superior.
That is, of course, the other factor to keep in mind with this movie. Say what you will about The Sound of Music, but the film has impact, and with this film with similar elements coming only a year after that movie's release, you can see the way that it borrows from the Best Picture winner. We see Sister Anne singing with the children, the pin-drop aspects of the guitar, the way that Sister Anne is conflicted about the man with romantic feelings for her, and the way that Mother Superior is a beacon of strength. The problem is that no aspect of this movie can survive the comparison, even the music (the only Oscar-nominated aspect, and while tuneful and crisp with Reynolds lovely voice, it becomes instantly forgettable even with songs that seemed catchy at the time). And while it's unfair to compare, this is most definitely an apples to apples situation.
Those were my thoughts-have any of you seen The Singing Nun? If so, what were your thoughts? Do you have a particular favorite in Reynolds' filmography? And where does the scoring rank in your own ballot from 1966? Share in the comments!
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