The film receives a dense and gorgeous Criterion transfer that allows its amazing aesthetic complexity to reach full ghostly bloom.
This unusually optimistic, and unsatisfying, John Huston film receives competent, not especially memorable treatment from Twilight Time.
It should come as no surprise that the special features presented here run very Scorsese-heavy.
Black Narcissus impishly keeps watch over the Archers’ canon with a sunken, rabidly prismatic eye.
The film makes a persuasive case that Englishness can be defined by the love one has for the land and the country, rather than one’s birthplace.
Superficial qualities aside, the movies are entirely the same, even line for line in many cases.
Black Narcissus, as with the remainder of Powell and Pressburger's masterworks, is sound, hue, and shadow as holistic dramaturgy.
McCarey’s use of the CinemaScope format for both visual gags and melancholy interactions is richly captured in the sterling DVD transfer, with the colors in Milton Krasner’s cinematography especially crisp. The sound is just as accomplished.
For cinephiles, the career of Preminger is their oyster. Bonjour Tristesse is the pearl.