This is an Indian colonial version of "Spring in a Small Town", but the latter is limited to a subtle and bitter atmosphere, or that film can only refer to something else because it can't refer to too much, an awkward end, It makes the spring of a small town out of the reality shown by the image.
The real foothold of this "Black Narcissus" is not in this fake studio and deliberately setting contradictory daily situations, but in the light in the movie! In the stylized theatrical plot, the light in the natural illusion literally replaces the existence of God (character). Precisely because religion is a certain kind of transcendental, separated from the secular power, it is so easy to fall into the (movie) poles, it becomes a secular, naturalistic experience. In the film, it is not represented by the "plot" outside the camera, but a desire-image similar to Spring in a Small Town. Through the perspective of others, natural spaces and desires are symptomatized and become bright lights/colors. As the situation continues to fall into dilemma, natural codes are constantly "idolized" and become fetish objects or icons. In fact, there is no need to Distinguish the two, as fetish symbols are one, and both can easily lead to the behavioral logic of the individual, making the situation completely destroyed. In the film this is precisely the nun's revenge through stylized melodrama. But in the process, we encountered weak light and constant or even out-of-control close-ups. This is not a simple stage play leading to destruction, but the opposite pole to which the image falls.
The image itself is the speech and does not need to be actively expressed. When the audience gazes at the icon, it is silent, and so is God. It was in silence that the nun who was retaliated and threatened with death saved the faith and did not let it slide to the extreme end of destruction. So the light and close-up in the film are the symptoms of desire and the existence of belief in God. In the eyes of the melodrama audience, it is undeniable that Sister Ruth still went to destruction at the end, but her destruction did not end the image, but became a way for the image to speak itself and be reborn in faith. Between the confusion of God's silence and the destruction of the situation, Sister Clodagh found a way for faith to exist. Where faith exists, it is the presence of light, and it is also where the image speaks itself.
The hearty rain at the end shows that although God is silent, the movie will not end in silence. This is the image's response to belief.
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