Anna Cumbers
Music and the Moving Image 1
06.01.00

Director: Fred Zinnemann
Producer: Henry Blanke
Production company: Warner Bros., US
Composer: Franz Waxman
Cinematography: Franz Planer
Made in: 1958
Released in: 1959
Video details: Warner Home Video (U.K.) Limited, VFB 18648, 1993

Set mainly in the 1930s - though it begins in the late 1920s – this is, as the title suggests, the story of the life of a nun, the nun in question being Gabrielle van der Mal (Audrey Hepburn). It is set in Belgium, and the first part of the film involves her actually becoming a nun – which involves going through several stages, e.g. postulant, novice, keeping vows for 3 years, keeping vows for life etc. – and learning how to be a good nun. Gabrielle, known as Gabi, is re-named Sister Luke when she is officially made a novice. Gabi wants to be a ‘nursing nun’ but struggles with the ‘Holy Rule’, which focuses on the virtues of poverty, chastity and obedience, she has most trouble with obedience. During her ‘training’, she spends a long time at the ‘Mother House’; she attends a school of tropical medicine, and is sent to work in a mental sanatorium in Brussels. The Mother House is a very clean-looking, sparsely decorated place, quite dark and cold looking. The chapel is more elaborate, but still with the all-pervading sense of order and tidiness. Gabi’s main influence at the Mother House is Sister Margarita, who also seems sparse, cold looking and orderly. Sister Margarita leads an exemplary life, and takes Gabi – along with the other novices – through the series of exercises designed to root out faults. The school of tropical medicine is more colourful, lighter, and she also gets to interact with people who are not in religious orders. A troublesome character Gabi encounters whilst at the school is Mother Marcella, a well-meaning but rather misguiding nun. She suggests that Gabi should deliberately fail an exam so that another nun, Sister Pauline – whom Gabi dislikes because Pauline is jealous of her talents – can pass and return to the Congo. The mental sanatorium is claustrophobic, bleak and frightening, although the garden within it is a sanctuary. Mother Christophe is a good influence on Gabi at the sanatorium, wise and encouraging, especially after Gabi makes a mistake whilst on duty in the ‘dangerous’ ward one night. She takes her final vows, though she doubts if she will ever be a ‘good nun’, and is finally sent to work in the Congo, which has been a dream of hers all along. She works in a ‘white’ hospital helping Dr. Fortunati (Peter Finch) in surgery. Dr. Fortunati is charismatic, good-looking, and a very skilful surgeon. He works her hard, and also challenges her lifestyle frequently, often telling her she is too proud to be a proper nun. She also finds it harder to obey the Holy Rule and all the detailed procedures and protocol that entails, though she expected it to be easier in the Congo, being away from ‘worldly associations’. After working there for a while, she contracts TB, but Dr. Fortunati manages to cure her. There is the suggestion of possible romance between Gabi and the Doctor, but this is never made clear. She is eventually sent back to Belgium, though she doesn’t want to leave the Congo. She returns to the Mother House, which seems terribly bleak and drab after the colour and vibrancy of the Congo. She stays at the Mother House for some months, in the meantime World War II has broken out. After her recouperation she is sent to a hospital on the border with Holland – she cannot return to the Congo due to the war – and at first resists becoming part of the resistance movement, even though countries all around them, and finally Belgium itself is invaded by the Germans. She eventually becomes part of the resistance, firstly because her young brother is in the war, and then because her father – a brilliant surgeon with whom she has a very strong relationship – is killed. She struggles because she cannot forgive the enemy for all they are doing, and she cannot obey the Holy Rule any more. The nuns were told not to participate in the resistance, so she finally rejects the virtue of obedience, which had troubled her all the way through her religious life. She asks for her case to be put before the cardinal, and declares she is no longer a nun, because she cannot obey. Her Reverend Mother, with whom she consults on the matter, identifies the underlying problem with Gabi, her first concern is for patients, and a nun’s priority should be God and the Holy Rule. Eventually she is allowed to leave the convent, she has to sign several papers and is dissuaded all the way. She leaves, with no indication of what she will do with the rest of her life.

‘The Nun’s Story’ is a long film (approx. 145 mins), and this impression of length is not counteracted by the visual narrative. The film seems to move quite slowly, especially in the first section, but even when she is in the Congo, the pace is still sedate, with long takes, and a distinct lack of frequent or rapid cutting – except perhaps in the ‘Archangel’ sequence at the sanatorium – helping to give the impression of a dignified pace. Typical camera angles are classic, no unusual angles or sudden movements of the camera, and even the pans tend to be slow, so that they are barely noticeable. Zinnemann takes advantage of Hepburn’s extraordinary talent at expressing emotions by using close-ups of her face, with just her eyes, nose and mouth visible under her wimple. These expressive close-ups help to convey Gabi’s reactions to events in her life. Her expressive face is often contrasted by the faces of the other nuns, whose faces often seem impassive, sometimes aloof, perhaps reflecting the restrictive, introverted atmosphere of the convent and the religious way of life, as it is presented in this film. The lighting employed throughout the film is very natural, unobtrusive and discreet, in fitting with the dignified and subdued atmosphere pervading most of the film. Editing technique uses, as I mentioned before, are also unobtrusive, frequent cutting is a rarity, and cross-fading scenes, sometimes to blackouts is often used. Overall, the type of visual narrative employed helps create the mood of the film, that of calm gravity, with occasional lighter and darker moments.

I chose ‘The Nun’s Story’ for this analysis assignment for several reasons. I remembered having seen it several years ago on television and liking it. I also wanted to study a film from the 1950/60s, simply because I like the kind of music written around those times. I thought films from the 1950/60s were interesting also because they tend to be a little more thoughtful with their use of music, with less ‘mickey-mousing’ for example, and a moving away from the idea of continuous background music. I also believed that the music to films from this era were likely to be more forward-looking or inventive (for want of a better word) due to advances being made by composers such as Schoenberg. ‘The Nun’s Story’ fitted all these elements quite well; the music is certainly not continuous – I have estimated the film to contain 50-60% of music – and sounds quite pared-down, almost sparse at times, and with a nod to composers such as Stravinsky in the scene I chose for detailed analysis. The sequence I chose for detailed work comes when Gabi is working in the sanatorium, just before she takes her final vows and is sent to the Congo. The basic outline is that Gabi is attacked by a schizophrenic patient when she disobeys the basic rule that she must have an attendant present if she opens a patient’s cell. I chose this sequence because it is very dramatic, highly tense, and the music helps greatly in the scene to create that tension. It also relates to one of the main themes of the film, perhaps the main theme, that of Gabi’s struggle with obedience. It is representative of the themes of the film in that sense, although the music is not particularly representative, most of the rest of the music being typically calm and subtle. One similarity with the music for the rest of the film is the interesting use Waxman makes of silence. I feel the intermittent use of silence, in this sequence in particular helps to highlight the music he does write, like a kind of picture-frame. At times the silences he includes are close to being painful, and help create tension almost, if not just as well as the Stravinsky-esque pizzicato strings idea he employs.

0:00:00 Blackout

0:00:02 Black and white ‘Warner Bros.’ logo zooms up on screen as bell-toll sounds

0:00:05 ‘WB’ logo holds, second bell-toll

*0:00:07 Sudden blackout as Main theme is played loudly on full orchestra

*0:00:08 Fade up to upward shot of smart young woman walking up to edge of stone bridge leans on edge and looks over [‘Audrey Hepburn in’]

*0:00:17 Cut to downward shot of calm river under bridge [‘Fred Zinnemann’s Production of’] pan up to woman on bridge [‘The Nun’s Story’] as Main theme continues [Co-starring Peter Finch as Dr. Fortunati’] woman turns and walks off bridge

*0:00:43 Cross-fade to shot of street by canal, harp arpeggios as woman walks leisurely towards camera

*0:00:47 [Various actors’ names] Poignant theme is played on lower strings, harp arpeggios continue [More actors’ names] Woman walks past camera

*0:01:16 Cross-fade to quasi-Regency large house by river, woman rings doorbell, pan down to river and house’s reflection

*0:01:29 Cross-fade to darker reflection in water [Various credits] with dramatic minor chord with rising string arpeggios, repeats up a semi-tone, and again [More credits]

*0:02:17 Main theme on trumpet, as a fanfare, with menacing chords

*0:02:24 Trumpet holds note as bell-toll sounds, and another

*0:02:29 Main theme on quiet wind stated, camera pans slowly to left

*0:02:35 Quiet Main theme on wind as still shot of water with dark reflections on it, female voice-over "He that shall lose his life for me shall find it… If thou wilt be perfect, go sell what thou hast and give to the poor and come follow me"

*0:02:48 bell-toll and solo oboe plays compounded Main theme as cross-fade to close-up of black bible with crucifix on front "Each sister shall understand that on entering the convent she has made the sacrifice of"

*0:02:57 "her life to God" close-up of profile of young woman looking out of a window, ticking clock is heard, music fades

0:03:02 Music out

*0:03:05 Rocking lullaby version of Main theme on solo flute with tremolo strings accompanying as woman walks towards camera looking wistful, removes ring from wedding finger, places it on a table with other items of jewellery and a heart-shaped photo-frame, she lays the frame flat as flute melody rises, more ‘romantic’, lingers high, then descends and fades out

*0:03:30 Cut to picture of nun & black child on wall as Main theme is stated on low strings, woman walks towards table with suitcase on it, closes it, cello melody descends and dies away at sound of suitcase clasps locking

0:03:36 Music out as she turns and picks up hat

*0:03:39 Piano melody begins – ‘Voi che sapete’ from Mozart’s Marriage of Figaro " Tell me fair ladies" – as woman leaves her room after going back to table to pick up a gold pen. Woman walks down stairs, stops to watch man playing piano – he starts ‘Voi che sapete’ again, as she joins in the tune, he looks at her and stops playing

0:04:35 Music out as ‘Belle’ (Gabrielle, abbr. to Gabi hereinafter) stops playing and smiles at her father, they walk out of the room together

*0:04:50 Mournful theme on viola enters as Gabi says her sister Marie didn’t want to say goodbye

*0:05:05 ‘Bitter-sweet’ chord (G#min7?) on harp and fuller strings continuing Mournful theme as Louise says goodbye to Gabi

*0:05:06 Oboe melody enters as Gabi comforts Louise

*0:05:23 Syncopated version of Poignant theme on strings as Gabi leaves Louise, strings rise. Father gives Gabi’s suitcase to driver of car outside house, boy runs up to Gabi and kisses her as strings linger on high note of Poignant theme, with harp slow arpeggio. Gabi says goodbye to her brother Pierre as melody descends, Father hurries her along, long note on oboe fades out

0:05:50 Music out as she walks down steps with brother and sister

*0:05:52 Mournful theme on unison violins as Gabi moves towards the car, stops to look up at the house, rising phrase gets louder and more intense, sullen-looking girl looks out of window, Gabi and father get into car, car drives off, siblings wave as last minor phrase of Mournful theme played on strings

0:06:07 Music out as cross-fade to view of a solemn-looking convent and people moving towards it, bell-gongs sound. Gabi and father walk along riverbank, bell gongs continue, they approach convent door, bell-peal in distance, Gabi pauses before going in – loud birdsong is heard.

*0:07:17 Trepidation theme (phrase 1) on strings as close-up of stone carving of Virgin and child, looks cold and foreboding, continues as Gabi and Father enter a small room

*0:07:28 Trepidation theme (phrase 2) as 2 nuns enter the room

*0:07:41 Piano octave on G# (discordant) adds tension

*0:07:44 Trepidation theme (phrase 3) on unison solo bassoon oboe and flute at octaves, strings join on final note as a previous patient approaches Gabi’s Father, who introduces his daughter Simone

*0:07:59 Trepidation theme (phrase 4) on strings as Gabi is introduced by her Father

*0:08:18 Convent theme on quiet high solo bassoon with string accompaniment as Sister Margarita, Mistress of Postulants introduces herself to Gabi’s Father

*0:08:35 Convent theme, still on bassoon with strings restated down a tone

*0:08:48 Convent theme on quiet oboes at octaves and chamber strings at half speed as Sister Margarita tells Gabi’s Father they’ll be going in shortly. Gabi and her Father discuss Sister Margarita as an example of a ‘perfect nun’, strings descend as Gabi’s Father is approached for Gabi’s dowry

0:09:16 Music out as Gabi’s Father gives the nun the dowry

0:09:25 A small hand-bell is rung, the parents and daughters start to say their farewells, Gabi hopes her Father will be proud of her

*0:10:00 Poignant theme on quiet solo cell as her Father says he wants her to be happy, chamber strings join in with countermelody

*0:10:25 Very slow Poignant theme on full strings with unusual harmonisation as the women leave the room – timpani accents give the feel of an execution march, last chord fades away

0:10:54 Music out as Sister Margarita closes the door behind them, loud click

*0:10:57 Trepidation (phrase 1) on flute duet, quiet and slower, as the women change into their black veils. Trepidation (phrase 2) on slow, louder strings as Gabi is told her habit used to be worn by a Sister who worked in the Congo, music fades

0:11:30 Music out as women line up in age order – they will be postulants for 6 months, novices for a year.

0:12:35 Sister Margarita claps her hands to get their attention to take them to chapel for evening prayers, after she introduces the idea of the ‘Grand Silence’ – they must be quiet from after chapel in the evening until after morning prayers

*0:13:30 Chapel theme, slow violin duet over drone in low strings as they all file into a corridor

*0:13:45 Chapel theme (2^nd half) as door is locked behind them, they enter chapel, on a high balcony, music fades on Ab in 3/ 4 octaves to give ‘open’ sound

0:14:15 Music out as evening prayers commences

0:14:50 Woman sings solo plainchant, nuns sing response and prostrate themselves etc.

0:15:35 Plainsong ends as fade-out on Gabi praying

0:15:36 blackout

0:15:37 Fade up to women being woken to say morning prayers

0:16:17 Cut to first lesson about ‘interior silence’, first of 5 days training before they’re accepted as postulants by the Superior General. Taught by Sister Margarita, introduced to a kind of sign-language, no useless conversations, no touching, don’t ask for anything for yourself, be alert to needs of fellow-sisters

0:17:37 Cut to a nun ringing a bell

*0:17:40 Trepidation (phrase 1) in syncopated rhythm on wind in octaves over regular harp arpeggios as the group files down into a corridor, they are told to walk close to the walls to practice humility

*0:18:10 Trepidation (phrase 2) with countermelody sounding like Convent theme on lower strings as they are told not to saunter or hurry when walking, and they are to walk close to the walls to practice humility, music settles on open F chord (no third)

0:18:20 Music out as Gabi runs round the corner, she’s late, she has to turn back and enter properly

*0:18:36 Trepidation (phrase 1) on wind with harp arpeggios again as they continue walking

*0:18:49 Convent theme on wind with bass notes on low wind and brass as cross-fade to group being told they’ll be admitted as postulants by the Mother Superior – she represents Christ among them

*0:19:16 Convent theme on loud cellos, decorated with trills with full string accompaniment as the group enters to be admitted as postulants, orchestra settles on open F chord

*0:19:53 Wind play slow descending modal-sounding scale over bass F drone, ending on open F chord as the group prostrate themselves before Mother Superior

0:20:07 Music out as Mother Superior ‘admits them into the congregation’ and gives a speech about the difficulties of being a nun, key quote: "You can very easily cheat us your sisters, but you can never cheat yourself or God"

0:22:23 Cross-fade to church tower and bell-tolls, voiceover of Sister Margarita talking about ‘obedience to the bell’ (the ‘voice of God’), stop whatever you’re doing that instant. Cut to Gabi working in a hospital ward, she fails to stop helping a patient when the bell rings

0:23:17 Cut to a pile of books, they are given a book each to write their imperfections against the Holy Rule twice a day for the rest of their lives.

0:23:42 Cut to Gabi writing in her book – hear her thoughts as echo voice-over

*0:23:48 Oboe solo with static melody moving over only 3 semitones with quiet string uncomfortable chords under as various voice-overs of nuns overlap

0:24:12 Music out as Gabi whispers "I accuse myself", suddenly alone, she’s upset, other overlapping voice-overs begin again

0:24:24 Bell toll cuts off voice-overs, Gabi continues to write, disobeying bell again

0:24:39 Sisters sing Forgiveness plainchant as they file out of chapel

*0:24:57 Oboe takes over 2^nd half of Forgiveness plainchant as cross-fade to Mother Superior’s office, Gabi enters, trumpet countermelody.

0:25:09 Music out as Mother Superior tells Gabi she met her Father who mentioned her ambition to go to the Congo – tells her she must first become a good nun, only the strongest are sent as missionaries

0:26:00 Cross-fade to final lesson before they become novices, they must go through a ‘Detachment of things and memories’ – Gabi realises she’ll have to hand in her ex-boyfriend’s gold pen, looks upset

0:26:43 Fade to blackout

0:26:45 Sedate organ music as postulants in bridal outfits enter chapel and kneel before Bishop

0:27:32 Organ stops as they all say their vows, they denounce the world

0:28:28 Organ enters to introduce plainchant started by priest and completed by nuns, sung several times as postulants are given their habits on cushions

0:30:09 Organ stops as priest sends them out with their ‘habit of humility’

0:30:18 Nuns sing Novice plainchant as postulants file out

*0:30:58 Violins quietly play version of Novice plainchant as Gabi kneels to have her hair cut short, strings build up

*0:31:21 Strings abruptly stop leaving a vibraphone holding an ‘uncomfortable’ chord, this same sequence is repeated twice as her hair is cut again twice, on third time string melody continues without vibraphone chord

*0:31:49 Main theme on loud full strings as nun puts a wimple on Gabi’s head, loud high strings play rising dramatic arpeggios on an unusual chord sequence as white cloth veil is placed on Gabi’s head

*0:32:13 Cut to Mother Superior’s serene face as strings move through A major, Ab and Bb

*0:32:16 Organ blends in with strings Bb chord as new novices enter, kneel and are given long candles to hold

0:33:43 Organ stops as Bishop gives novices their new names, Gabi is to be known as Sister Luke

0:34:08 Cross-fade to Gabi working in her ward, her patients present her with a bouquet and tell her ‘she makes a beautiful nun’, Gabi is touched, goes outside and talks with Sister Mari-Christine (formerly Simone) in the Grand Silence – they’ll have to write it in their accusation books

0:35:41 Cut to classroom, focus of year of being novice is to eliminate pride and self-will. In addition to their accusation books they’ll have to declare external faults against the Holy Rule (culpa) before the community once a week and be given a penance – degree of humiliation corresponds to degree of pride remaining. Other sisters can proclaim external faults ‘in charity’.

0:36:50 Cut to a culpa/penance session, Gabi says her culpa, Sister Mari-Christine proclaims herself and Gabi for seeking each other’s company. They must ask God’s help to ‘overcome this attachment’ and kiss the feet of the other nuns and beg for bread in the refectory

*0:38:46 Penance theme as Gabi and Mari-Christine kiss the nuns’ feet in refectory, violins hold upper note at octaves, lower strings play moving chords

*0:39:15 Penance theme (2^nd half) on wind as novices scrub floors

*0:39:32 Harp spread chord and violin duet quietly plays Poignant theme octave apart as cross-fade to Gabi praying in chapel about her faults

*0:39:45 Main theme is stated, strings end on open D chord

*0:40:10 Strings hold open D chord as harp plucks alternating chords in 5^ths and 4^ths as Gabi walks down a hospital corridor, Mari-Christine approaches her, harp stops and strings fade out

0:40:21 Music out as Mari-Christine tells Gabi she’s leaving, she can’t go on cheating God, says Gabi is the strongest of them, apologises for making her talk during the Grand Silence

*0:41:18 Mixture of Convent theme on quiet cello and Main theme on clarinet as Mari-Christine makes to shake hands with Gabi, thinks again, and says goodbye

0:41:22 Organ enters as cross-fade to novices in front of Bishop

0:41:49 Organ stops as close-up of serene Mother Superior. Gabi reads out her vows before the Bishop, she promises to obey the Holy Rule of that community for 3 years

0:42:18 Nuns sing plainchant as Gabi signs her contract, is given new veil, goes over to Mother Superior, who replaces white veil with new black veil,

0:43:36 Singing stops as Gabi looks solemn

0:43:37 Cross-fade to Mother Superior talking to Gabi in her office about private penance, she’s given a ‘symbolic’ whip and told that the next day she leaves for the School of Tropical Medicine in Antwerp – Gabi is surprised

0:44:14 Cross-fade to School gardens, bell chimes in background as nuns walk over to a building. Gabi is working in a laboratory and is praised by the teacher "Your father’s daughter, excellent", Sister Pauline looks jealous

*0:47:15 Variant on Convent theme on flute and clarinet at octaves with strings countermelody as nuns get off a street tram, trumpet states Main theme

*0:47:43 Main theme on strings stated as cross-fade to inside nun’s house, some ‘uneasy’ chords – unusual modulations, on horns. Gabi goes to see her Mother Superior

0:48:04 Poignant theme on viola over held horn chord as Gabi enters Mother Marcella’s office

*0:48:12 High bassoon states Convent theme as Gabi kneels before Mother Marcella, followed by viola stating the Poignant theme. Low strings play chords and fade

0:48:31 Music out as Gabi talks about her unfriendly feelings towards Sister Pauline, apparently Sister Pauline has already spoken to Mother Marcella about their mutual dislike, she thinks Gabi is too proud. Mother Marcella suggests Gabi should fail her exam to help Sister Pauline pass and show humility.

*0:49:37 Close-up of Gabi’s horrified face as strings enter one by one, building up loudly, violins state Shock theme with violas and cellos playing underneath ‘nasty’ chords,

*0:49:57 Violins state Shock theme with low strings again an octave down, Mother Marcella tries to convince Gabi that God wants this of her, Shock theme again on violins

*0:50:33 Shock theme on chamber strings as Mother Marcella talks of humiliation

*0:50:42 Shock theme on violins answered by Shock theme on cellos in unrelated key as Gabi continues to struggle with this suggestion, low menacing basses fade out

0:50:57 Music out as Gabi sits her exam, takes a long time to answer the questioner, she’s struggling about whether to deliberately fail or not, eventually answers well, ignoring Mother Marcella’s advice

*0:52:29 Fast Poignant theme on violins as Gabi looks guilty, wind join in, strings settle on ‘suspense’ chord

*0:52:33 Main theme on strings in a ‘pastoral’ version with happier-sounding harmonies, and a mellifluous harmony line as cross-fade to garden, nuns are given results of exams, all pass, Sisters Pauline, Timothy and Ellen going to the Congo – solo oboe plays variation on Main theme, trails off

*0:53:06 Cellos state Poignant theme in exaggerated rhythm as Gabi is told she is being sent to work in a mental sanatorium near Brussels, chromatic string chords under cello continuing discordant melody as Gabi talks to Mother Marcella

*0:53:17 Shock theme on violins over held string chord as Mother Marcella suggests Mother Superior felt she wasn’t ready for the Congo – she is told she must accept whatever comes to her. Horn plays repeated note as Gabi told she came 4^th out of 80 students, horn note held

0:53:33 Music out as Gabi is left pondering

*0:53:34 Black out as strings and wind play ‘suspense’ chord (F major with #5^th?)

*0:53:36 Low chord (half diminished?) on horns with tubular bell answered by ‘suspense’ chord on strings and wind as Gabi is shown round the mental sanatorium, low quiet note from basses with high oboe

*0:53:45 A flute harmonic joins the high oboe – reminiscent of ‘One flew over the cuckoo’s nest’, high and piercing as Gabi sees some patients, flute and oboe fade

0:53:52 Music out as a patient waltzes with Gabi until she’s taken away. Gabi is shown the cells for the dangerous patients, Gabi is introduced to ‘Archangel Gabriel’, a very dangerous schizophrenic, Gabi seems to like Archangel. Sisters in this area are forbidden to open the cells alone.

0:56:21 Terrible screaming noises as Gabi is shown another room where they treat the violent cases by keeping them in baths for hours at a time, Gabi will assist Sister Marie in this area.

0:57:34 Cross-fade to the sanatorium garden, birds chirping

*0:57:40 Convent theme on flute and oboe over strings and harps accompanying chords as Gabi and Sister Christophe walk in the garden, melody wanders on a variant as Sister Christophe talks about a letter Gabi received from her Father, he is angry that she wasn’t sent to the Congo. Gabi says she’ll learn obedience from working here, Poignant theme on strings is stated, Sister Christophe says she’ll help her, strings play high trill

*0:58:44 Violin trill continues over as close-up of clock on wall, trill fades out, tubular bell imitates clock-chimes. Gabi is on duty in the dangerous cells, high strings play ‘demented’ chord pairs, very discordant. The ‘demented’ chords and tubular bell alternate as Gabi sits at the desk

*0:59:29 Viola states Poignant theme over ‘demented’ chords and tubular bell as Gabi catches sight of her reflection in a mirror on the desk, the viola wanders off on a discordant melody over continuing ‘demented’ strings and tubular bell as Archangel asks for a drink of water, Gabi should could for an assistant but doesn’t, fetches her a drink

1.00:22 Music out as Gabi unlocks Archangel’s door

*1:00:41 Stravinsky-esque loud plucked rapid strings as Archangel yanks Gabi into the cell, they struggle

*1:00:46 Strings stop briefly as high, loud, harsh brass blasts out repeated rhythm, Stravinsky strings join in, Archangel and Gabi continue to struggle

*1:00:54 Strings and brass play a rising chromatic scale twice as Archangel pulls off Gabi’s veil and pushes her against a wall, single loud plucked chord as they stand apart

1:01:08 Music out as Gabi slowly moves around the cell, Archangel threatening, holds Gabi’s key-belt

*1:01:20 Stravinsky strings re-enter, building up as Gabi dashes for the door, they struggle again

*1:01:25 Loud muted brass play Main theme over continuing Stravinsky strings as Gabi pushes Archangel aside, she slips on spilled water, Gabi escapes, brass crescendo and single loud plucked chord

1:01:31 Gabi slams and locks the door and presses the alarm

1:01:50 The alarm bell sounds

1:01:54 Gabi stops pressing the alarm

*1:01:55 Shock theme on loud violins as Gabi sits at the desk, she directs 2 attendants to Archangel’s cell, strings quieten as Sister Christophe hurries in and Gabi berates herself for pride and disobedience, Sister Christophe tries to comfort her

*1:02:28 Violins quietly play Main theme as cross-fade to Gabi talking to Sister Christophe a few days later. Gabi is despairing of ever being a good nun, violins and cello countermelody continues. Gabi tells Sister Christophe about Mother Marcella’s advice to fail her exam, Sister Christophe knew about it

*1:03:07 Slow Main theme on high quiet violins as Sister Christophe says Mother Marcella was wrong to suggest that to her – sounds reassuring, violins continue variant on Main theme as Sister Christophe tells her she’ll be a good nun. Gabi talks of wanting there to be a resting-place where obedience is easy

*1:03:46 Main theme on cellos as Sister Christophe says there is no such place, strings hold major chord and swell

*1:03:57 Strings hold chord as cross-fade to statue of Virgin and child, strings fade

1:04:02 Music out as Gabi reads her final vows, Bishop places ring on her wedding finger and pronounces her a bride of Christ

*1:04:27 Main theme on high strings and tubular bells as Gabi kisses Bishop’s ring, last note harmonised as major instead of usual minor. Gabi is blessed by the Reverend Mother Emmanuel (Mother Superior), trumpets play repeated rhythm on same note, hold last note as strings fade

1:04:54 Music out as cross-fade to a boat leaving port

*1:05:05 Majestic full low strings enter as Gabi leaves on the boat to the Congo, majestic strings continue, as Gabi looks forward to living in the jungle where there’ll be "no worldly associations", strings end positively

*1:05:54 Strings hold G in several octaves as Gabi kneels to pray by her cabin, confetti falls from underneath her veil, Gabi smiles

*1:06:01 Echo of first 2 bars of Mozart’s ‘Voi che sapete’ on piano solo over strings held note, her smile fades and she looks guilty, strings fade, horns play next chord of song, but harmonise next note as minor

*1:06:16 Main theme in triple time is played on trumpet over full strings and harp arpeggios as cut to shot of turbulent water in the wake of the ship – sounds hopeful

*1:06:26 Congo theme on cor anglais as various shots of Congo scenery

*1:06:35 Slow Main theme is stated on low strings and brass under continuous Congo theme

1:06:55 Music out as train pulls into a station

1:06:00 Military band is heard in distance as Gabi prepares to leave the train, playing a Sousa-esque military march to welcome the train

1:07:47 Band stop playing

1:07:57 Tribal singing starts as people start getting off the train, tribal singing basically 2-part on a D major chord, sounds happy. Gabi travelled with Mother Augustine, she points out Mother Matilda, they greet her, and are introduced to Sister Aurelie and Kalulu, who helps run the hospital. They leave the train station – tribal singing continues – and get on a boat to cross the Congo, singing fades,

1:09:39 Singing stops as Gabi and nuns sit on boat, male natives watch them

1:09:52 Drum beat enters, Kalulu says they’re telling of their arrival, they also describe Gabi – the men laugh, but won’t translate

1:10:23 Fade to blackout, drums continue, fade, bird-song enters

1:10:26 Fade up to tropical trees, ringing bell, and a shot of the convent

1:10:35 Cut to nuns walking down a corridor, Sister Aurelie tells Gabi what the drums said about her last night "talks little, looks much, young enough to bear children"! Mother Matilda takes her on a tour of the hospital

1:11:31 Cut to various shots of tribespeople, Gabi meets some of the natives who help at the hospital, some still wear witchdoctors’ ‘fetishes’ around their necks despite the best efforts of the nuns. They are passed by Dr. Fortunati, and Gabi expresses her eagerness to help the native people, Mother Matilda looks worried. Gabi meets the chaplain Father André and is shown the maternity ward.

1:14:42 Fast drum-beat enters – how they call the children to school, they leave the ward and visit the school

1:15:08 Drumming stops as the children talk to Mother Matilda. They move on to a child-care area. Gabi says she’s very happy to be working for the native hospital, Mother Matilda corrects her, she is to help Dr. Fortunati at the white hospital

*1:16:51 Slow Main theme on cellos as Gabi looks very disappointed, cello duet on variation on Main theme, oboe joins in as Mother Matilda tells Gabi that the last nun caught TB and had to leave

*1:17:19 Poignant theme on unison cellos and 2^nd cellos play Main theme as countermelody

*1:17:39 Violins state Poignant theme, basses pluck bass notes while cellos play Main theme at half speed as cross-fade to Gabi and Mother Matilda walking to the white hospital, they enter, basses play legato bass line under interweaving violins and cellos

*1:18:02 Violins state Poignant theme just after Gabi is introduced to Ilunga who will be her deputy, strings continue interweaving melodies

*1:18:16 strings end on E in several octaves and fade as Gabi is shown the operating theatre

1:18:23 Music out as Mother Matilda discusses Dr. Fortunati and the operating theatre protocol – Gabi is warned about Dr. Fortunati

*1:19:09 Full strings play religiously majestic chords, flute and oboe play countermelody, as Mother Matilda crosses Gabi’s forehead before leaving her to look over the equipment, flute and oboe state Convent theme

*1:19:20 Sweeping harp arpeggios and full orchestra on C major chord as Mother Matilda open screen doors to show a beautiful view over the Congo, Mother Matilda walks away, orchestra holds chords, harp continues arpeggios as horns play short motif, orchestra dies away as Gabi closes the screen doors

*1:19:34 Horn holds note, Gabi turns and starts to cry

*1:19:42 Main theme on wind over held horn, strings play countermelody as Gabi stops crying, moves to a glass-fronted cabinet, spots her reflection and adjusts her veil

*1:20:02 Dr. Fortunati enters, menacing motif in strings – discontinuous with previous melody line

1:20:10 Music out as he jibes her for vanity and introduces himself, tells her how his operating system works, she will take mass at the window instead of going to chapel if she is assisting an operation at the time. She curtly informs him who her father is, he jibes her for pride

*1:21:28 Cellos enter with jumping version of Poignant theme, last note held

*1:21:35 Violin and oboe join held cello note to make a ‘suspense’ chord (F major with #5^th?) as cut to an operation in progress – chord fades

1:21:40 Music out as Gabi assists Dr. Fortunati in the operation, they have a lively repartee

1:22:33 Small bell rings, goes to screen door to take Mass from Father André

1:22:59 Bell rings again, Gabi rises and returns to the operation, she and the Doctor continue talking, he mentions her father, sarcastically

1:23:26 Gabi curtly asks him not to mention her father again

*1:23:30 Basses enter with a slow version of Congo motif

*1:23:33 Congo motif on basses continues, oboe plays version of Main theme as cross-fade to Gabi teaching her nursing assistants, basses and oboe hold last note

*1:23:39 Cross-fade to Gabi training her assistants on a patient in a ward, basses and oboe fade

1:23:42 Music out, Mother Matilda enters and speaks with Gabi, she was asked about Gabi’s innovations by the Bishop and she didn’t know anything about them – Gabi should’ve checked with her first. She says the Bishop asked why she was "trying to singularise herself", Gabi feels ashamed

1:24:08 Cross-fade to tribal scenes, lots of chatter and drums. Gabi and Emile walk through the tribes-people with bikes, Gabi tries to explain to him how all the sisters are ‘married’, he still cannot comprehend. Tribal singing as they cycle away

1:26:17 Cut to Gabi looking at an x-ray, Dr. Fortunati enters, he’s going for a fishing weekend, if there’s an emergency she should send for one of the town doctors. He advises her to rest and leaves. Gabi starts to fill a container

1:27:15 Small bell rings, Gabi finishes filling the container – should stop straight away – then takes out her accusation book. Mother Matilda hurries in, Father André has had an accident

*1:27:51 Basses enter as Gabi asks Mother Matilda to try and catch Dr. Fortunati, alternating wind chords and cellos sighing motif repeated, getting louder, wind hold chord, cellos play longer melody. Father André is brought to hospital on a stretcher, alternating wind chords and sighing cellos again, with longer melody on cellos as Gabi asks for a town doctor to be fetched

*1:28:11 Cross-fade to Father André in pain, violins play Nervous motif repeatedly while Gabi cleans his leg, the second chord is held over a cor anglais rising melody. Mother Matilda enters, they can’t find a surgeon, they’ll have to try and save the leg, Nervous motif again, last is held and fades

*1:28:47 Another pair of chords (E minor and F#min6?) on low strings, harp on first chord as nuns prepare to operate

1:28:56 Music out as cross-fade to Father’s leg being examined by Dr. Fortunati – Gabi did an excellent job

1:29:37 Fade to blackout

1:29:39 Fade up to Gabi and Dr. Fortunati talking, he compliments her on her nursing skills and suggests she goes on a trip with Mother Matilda to the bush station to do the annual leprosy check on Father Vermeuhlen. He comments that she’s tense, says it’s due to inner struggle with discipline. Gabi has a little outburst about the consequences she suffers every time he talks to her "like this" (useless conversation?), Gabi looks upset.

1:30:53 Tribal drums and singing as cross-fade to Gabi and Mother Matilda boating to the bush station, Father Vermeuhlen meets them at the jetty

1:31:06 Tribal singing and drums fade out as Mother Matilda tells Father Vermeuhlen’s story

*1:32:30 Low strings and cor anglais play Leprosy theme as various shots of leprosy sufferers

*1:32:54 Discordant cor anglais duet in thirds in semitone movements up and down over continuing ‘Jaws’-like low strings and timpani – like a death march.

*1:33:17 Strings continue cor anglais chords, now fuller and more discordant, alternating with cello and bass line as Gabi is shown round the station

*1:33:39 A more harmonious-sounding violin duet plays over continuing ‘Jaws’ motif in low strings and high countermelody on wind as Gabi and Father Vermeuhlen discuss the leprosy sufferers, bass line fades out. Quiet string and wind line as Father Vermeuhlen tells Gabi he doesn’t need a leprosy test, Gabi insists

1:34:23 Music out as Father Vermeuhlen shows Gabi his hands

*1:34:25 Loud discordant chord on low heavy strings and brass with low wind and strings on a semitone motif – Father Vermeuhlen has leprosy. Violins play Main theme

*1:34:38 Leprosy theme on low strings and cor anglais as Mother Matilda and Gabi leave

*1:34:55 Trumpet trio flourish as boat leaves, Main theme variant on strings and wind, low cor anglais and clarinet flourish while low strings hold

*1:35:05 Low strings hold over and state slow Main theme with viola interjections as cross-fade to Gabi and Dr. Fortunati scrubbing-up. Various shots of Gabi working very hard, viola tremors become a fast Main theme, clarinet ‘tick-tock’ effect as bell is rung for Vespers

*1:35:26 Fast Main theme stated on flute as Gabi rings Mother Matilda for permission to miss Vespers so she can work

*1:35:34 Fast Main theme stated on oboe after modulating up a semitone, strings continue insistent movement, oboe holds

*1:36:00 Cross-fade to Gabi working in the medicine room – fifth in strings move by semitones, oboe plays fluttering motif, strings rise higher and get louder, oboe continues

1:36:06 Music out as Gabi smashes a jar and screams, Dr. Fortunati enters and tells her off for working too hard, Gabi cries

*1:36:52 Violins enter with rising motif as Dr. Fortunati turns off the light, violin rises, ends on high chords with lower strings added, strings hold

*1:36:55 Strings hold over as cross-fade to Gabi checking a slide, violin moves a little

*1:37:00 Poignant theme on low strings as high violin line continues, low strings state Poignant theme again, all strings descend

*1:37:15 Poignant theme variation on violins as Gabi leaves the room, violin and cello countermelodies interweave over bass line, slow down, descend and fade out as Gabi goes to see Dr. Fortunati – basses left holding very low and quiet note

1:37:44 Music out as Gabi tells Dr. Fortunati she has TB – she did a test. He asks to examine her, Gabi should call for another sister to be present but doesn’t. He examines her and says they’ve caught it early, he can treat it and she doesn’t have to return to the Mother House, Gabi cries

*1:40:13 3-part strings re-enter in long interweaving line as Dr. Fortunati tells Gabi she could never be the sort of nun her order requires her to be

*1:40:56 Poignant theme and variation on low strings an octave apart and low harp spread chords as Dr. Fortunati says he will persuade Mother Matilda that Gabi should stay to be treated, he encourages her then leaves.

*1:41:42 Cut to shot of Gabi’s ‘recovery hut’ as full strings play more positive-sounding rich chords, with flute flutters over

*1:41:48 Poignant theme on viola as strings continues

*1:41:59 Low flute motif as Sister Aurelie enters with a pet monkey for Gabi, flute flutters over string chords, flute melody wanders as Sister Aurelie looks around Gabi’s hut, starts to comment on a memory it evokes

1:42:21 Music out as Sister Aurelie stops herself

*1:42:42 Quiet solo cell with chromatic melody enters

*1:42:52 Playful plucked strings and jumping piccolo enter as monkey interferes with Gabi’s book

1:43:05 Music out as cross-fade to Dr. Fortunati preparing her a medicinal drink, he tells her to relax and is generally nice to her

1:44:40 Cut to tribespeople bringing food – tribal drums

*1:44:47 Cut to shot of Gabi asleep, quiet high strings in ‘stroking’ idea with solo violin

*1:44:56 Main theme on flute and oboes as Mother Matilda brings Gabi her evening mean, held chord on strings with repeated plainsong-like melody on flute, melody rises

1:45:29 Music out as Gabi is reminded that she’s talked during the Grand Silence

*1:45:32 High solo oboe plays rising melody as Mother Matilda leaves

1:45:35 Cut to tribespeople bringing food again – tribal drums

1:45:42 Cut to Dr. Fortunati confirming Gabi is recovered, they hold a pleasant conversation, he basically expresses how much he likes her

*1:46:25 Cross-fade to Ilunga sweeping the floor outside the chapel, Gabi and Sister Aurelie are preparing the nativity inside, solo cor anglais plays version of Forgiveness chant with full string accompaniment, sounds like a Christmas carol, Sister Aurelie tries to persuade Ilunga to come in but he won’t

1:47:27 Music out as cut to native man walking into hospital and asking Sister Aurelie where he can get First Aid, the man comes into the ward

*1:48:06 Wind play loud chord with semi-tone shift and the patients scream as the man hits Sister Aurelie over the head twice with a stick

*1:48:14 High, shrill and loud violins hold high C as Sister Aurelie looks at the man, the patients stop screaming, she slowly stumbles through to another ward

1:48:29 Music out as he hits her twice

*1:48:31 Strident jumping strings with discordant and irregular rhythm as the man is apprehended by assistants, strings continue as Gabi hurries in, timpani join as strings rise, drone in basses and low brass as strings steadily rise, Gabi checks Sister Aurelie’s pulse

1:48:56 Music out as an assistant breaks off the fetish from around the man’s neck, Ilunga looks horrified

*1:49:02 Strings and horns play calmer version of jumping strings then string quartet play slow version of Forgiveness chant as cor anglais and oboe at octave play rising countermelody. Gabi and other nuns carry away the dead Sister, cor anglais and oboe state Convent theme, strings, oboe and cor anglais hold notes

*1:49:27 Cross-fade to the assistants huddled together, whispering, strings, oboe and cor anglais fade

1:49:28 Music out as Gabi enters, when they see her they quickly disband

*1:49:34 Flute plays motif from Congo theme over quiet held horn chord, Gabi calls Ilunga to ask him a favour

1:49:49 Music out as Ilunga expresses confusion that the nuns are not angry at them, Gabi explains forgiveness. Gabi invites Ilunga and other assistants to the Chapel Christmas Eve service

1:50:43 Cut to decorated chapel, full of colourful tribespeople

1:51:00 Small organ plays intro to ‘O Come all Ye Faithful’ twice as congregation stands and choir and nuns process in and start singing. Gabi notices Ilunga has come, and has taken off his witchdoctor’s fetish

1:52:32 Cross-fade to Dr. Fortunati and Gabi post-operation, he tells her he has to send her back to Belgium with the ‘Englebert case’

*1:52:59 Low strings and clarinet at octaves play falling and rising discordant idea as camera zooms up to Gabi, she’s shocked, strings hold last note

*1:53:04 Cut to Mother Matilda explaining to Gabi she’s the only one qualified enough to go, low strings hold note as oboes and clarinets state Main theme, strings hold bass line, low quiet horn states main theme

*1:53:37 Cross-fade to Dr. Fortunati explaining the case and the arrangements, horn solo of Main theme continues over strings with different harmonisation than usual. Dr. Fortunati says he’d much rather not send her back

*1:54:07 Solo oboe hints at Poignant theme

*1:54:25 Solo horn plays Main theme again, high quiet strings play Poignant theme as Dr. Fortunati asks her whether she would cope if they keep her in the Mother House permanently, Gabi gets irate and walks out, she doesn’t want to discuss it

*1:54:54 Low strings play fast Poignant theme over minor chord in strings and horns, horns play fast Shock theme as Gabi leaves the room

*1:55:00 Harp arpeggios, strings and high tubular bells play descending motif, cut to shot of crested birds, Gabi enters, the strings hold last note, flute flutters above

*1:55:11 Main theme on loud high strings as Gabi tells the birds she’s coming back

*1:55:20 Cut to the train station, slow alternating minor chords on horns and harp with high notes on flute, oboe and harp as Gabi says goodbye on the platform

*1:55:40 Alternating chords again as Mother Matilda crosses Gabi’s forehead, she gets on train

*1:55:54 High strings at octave with ascending and descending motif as high oboe holds

*1:56:01 She is shown to her carriage by Kalulu as descending chords on quiet strings – her carriage is filled with flowers, Gabi is touched

*1:56:11 High quiet violin trill joined by cellos, violas and 2^nd violins, building up as Gabi is left alone in the carriage, harp arpeggios join in, high violin descends

*1:56:34 Poignant theme in full-scale opening credits version with extra tubular bells as train pulls out of station

*1:57:11 Music cuts to last phrase/climax of opening credits as Dr. Fortunati comes into view, Gabi looks pleasantly surprised

1:57:25 Music out as cut to Mother House, it’s raining and bleak

*1:57:38 As Gabi walks down corridor to chapel, same music as in scene earlier where she had to walk in properly after she was late – version of Trepidation (phrases 1 & 2) on flute and clarinet with spread harp chords as some postulants come the other way with Sister Margarita

*1:58:03 Main theme on flute, violin and viola with unusual harmonisation as Sister Margarita sees her, is surprised, acknowledges her and moves on

*1:58:08 Trepidation again, 2 oboes and harp this time

*1:58:14 Cross-fade to greeting Mother Emmanuel, strings and oboe with semitone movement motif, sounds uneasy, last note held and fades, Mother Emmanuel tells of the good reports they’ve had about her

1:58:28 Music out, Mother Superior shows her a wooden statue her assistants sent her, Gabi asks that it should stay in the Mother House. Mother Emmanuel says she’ll be a good example to the postulants and novices, therefore she is staying at the Mother House

*1:59:06 High violins enter with descending sighing motif, taken up by cellos and violas, with ‘depressing’ chords in horns and basses. Sighing motif on flute and harp over low strings as she is told she must rest for several months to renew her spiritual life, she won’t be allowed to work in a hospital even, flute and harp alone, hold note

*1:59:32 Cross-fade to family-meeting room, strings and oboe with slow harp arpeggios play slow Trepidation (phrases 1 & 2) – this theme first heard in this room. Gabi’s father is waiting to see her

*2:00:11 harp and strings under solo oboe with theme stated when Gabi said goodbye to her sister at the start of the film, as Gabi mentions how good her doctor was, her father asks if she’ll be sent back to the Congo

*2:00:30 Harp spread chord and Poignant theme on violins as her father mentions the possibility of war, her brother and her sisters’ husbands are in the army, Poignant theme stated again in cellos

*2:00:53 Strings fade as solo oboe holds high note as her father asks her how she really is, oboe fades

2:00:57 Music out as Gabi tries to joke him off, he says he misses her and mentions that her old boyfriend/fiancé never married, Gabi tells him off lightly

*2:01:20 Tribal drums enter as cross-fade to Gabi lying in her sleeping cubicle, drums continue with quiet flowing semitonal flute melody as echo voiceovers heard – first Dr. Fortunati reading his own letter, then Mother Emmanuel asking Gabi if she loves the Doctor, Gabi denies it, she deeply admires him

*2:01:59 Tribal drums continue as cross-fade to Gabi praying in chapel, high violins play slow Convent theme, oboe plays Poignant theme over low strings with semitonal movement. Gabi prays to detach herself from her memories of the Congo, prostrates herself

2:02:22 Echo voiceover as Gabi remembers Dr. Fortunati asking how she’d cope if they kept her at the Mother House, tribal drums

*2:02:28 Cut to a tree in blossom, high solo oboe and flute enter with descending melody, Gabi talks with Mother Emmanuel, variation on Convent theme in strings and wind, solo oboe continues and states Poignant theme. Gabi can’t go back to the Congo because of imminent war, there is a place in a hospital on the Dutch border

*2:03:39 Main theme on solo oboe, flute and cor anglais in a round, Gabi is in Holland. In the refectory, there is an announcement that Rotterdam has been bombed, the nuns are to carry on as usual, last note is held and fades

*2:04:01 Low strings with piano quietly enter with ‘trudging’ bass line – rocking interval of a 5^th as an ostinato with discordant march rhythm on muted brass, builds with rising strings. Ostinato continues, with snare drum and horn rapid rising figure

*2:04:40 Cut to Gabi assisting an operation, ostinato quiet with rising chords in low strings, notes hold as bombing and gun shot sound effects heard, one nurse looks very nervous

*2:05:04 Ostinato and muted brass march as Holland and Northern France are occupied, brass and wind play discordant march, ascend and hold

*2:05:23 Quiet ostinato, wind and brass march as battle of Dunkirk is reported, added snare drum

*2:05:36 Suddenly quiet as Belgium surrenders, rising march motif in strings and wind, sisters told not to take sides

*2:06:00 Loud short blast on brass and wind as cut to German soldiers in the hospital

2:06:01 Music out

*2:06:11 Low discordant strings as nurses attend the wounded, strings and wind play repeated march rhythm on same note over discordant strings as phone call for nurse Lisa, Gabi is suspicious

*2:06:59 Poignant theme on strings in march rhythm over repeated notes and menacing chords as Lisa takes call, and Gabi walks away, Lisa asks permission to see a sick uncle

*2:07:26 Gabi leads Lisa into another room, solo horn with repeated falling motif over string menacing chords, horn fades

2:07:32 Music out as Gabi confronts Lisa, who wants to become a nun, Lisa admits she’s working for the resistance

*2:08:12 Basses hold low note as high solo oboe enters on variation of Trepidation (phrase 3) and descends as Gabi offers to help

*2:08:35 High quiet strings state Main theme with unusual harmonisation as Gabi prays for forgiveness, she can’t obey any more, strings resolve to major chord

*2:08:58 Poignant theme on violin, sighing oboe motif returns and counterpoints with violin as Lisa gives Gabi a letter, she should show it to Mother Superior

*2:09:26 Poignant theme on violin, followed by oboe as Gabi puts letter in pocket, oboe, violin and viola descend together chromatically

*2:09:42 Cross-fade to Gabi reading the letter, high violins descend over chords in lower strings, it’s from her brother, strings hold and fade

2:09:54 Music out as Gabi reads letter – her father has been killed

*2:10:06 Timpani play slow march rhythm

*2:10:12 Poignant theme on cellos, violins and violas join in rising counterpoint, , all parts start to rise chromatically and speed up, all parts state opening figure of Poignant theme

*2:10:34 All strings play Main theme and crescendo on last note

2:10:39 Music out as Gabi hears echo voiceover of Ilunga speaking after Sister Aurelie’s murder of revenge and her own voice speaking of forgiveness

*2:10:52 Strings enter one after another with opening figure of Main theme at double speed, also at normal speed at the same time, full orchestra mixes together, builds up, trumpet plays Poignant theme and all crescendo

2:11:02 Music out as Gabi cries "Father!"

*2:11:06 Strident strings play loud sighing discordant chord pairs, she cries ‘Father’ followed by chords and ‘Father’ again

*2:11:11 Fade to blackout as final string chords sound

2:11:12 Music out

2:11:15 Fade up to Gabi going to confession, says she can’t be a nun any more because she disobeys and is a hypocrite, she cannot forgive the enemy. She asks the Father to bring her case before the Cardinal, "I am no longer a nun"

*2:12:40 High quiet violins play slow Poignant theme over low quiet brass playing Main theme, this pattern repeats twice, he asks her to think carefully, strings hold. Main theme on high flute over held string chord

*2:13:19 Violins play Poignant theme as Father asks her to speak with Mother Emmanuel when she visits shortly, low brass play Convent theme, this pattern repeats twice. Gabi asks him to put her case before the Cardinal or else she’ll leave without permission, high strings hold

*2:13:51 Cross-fade to Gabi walking with Mother Emmanuel as strings hold over and low strings play heavy descending chords with oboe and clarinet playing Main theme as counterpoint. They sit on a bench, strings and wind fade

2:14:15 Music out as Mother Emmanuel tries to dissuade Gabi, Gabi thinks she’s always had a persistent problem with disobedience, and questions the nun’s rule of stopping work or talking (Grand Silence) as soon as the bell rings. Mother Emmanuel says she entered the convent to be a nun, not a nurse, and asks her to think again, Gabi says she cannot

*2:16:14 High strings play Main theme as Mother Emmanuel rises

*2:16:28 Horn chord (minor with added 6^th?) with oboe playing fast version of Main theme as Mother Emmanuel crosses Gabi’s forehead, oboe continues over muted horns

*2:16:40 Loud violins enter with fast version of Trepidation (phrase 1) first heard in this arrangement when Gabi first saw Mother Emmanuel, when she was made a Postulant: regular timpani beats, melody on cellos with embellishments

*2:16:51 Cut to Father entering a ward, chords hold, high trumpet flourish and fade

2:17:01 Music out

*2:17:02 Viola melody as Gabi talks to Lisa about why she wants to become a nun, strings with interweaving lines, Gabi tells her she’s leaving

*2:17:32 Soft chord on full orchestra as Lisa is shocked, violins state Poignant over low chords, Lisa says the Underground needs nurses

*2:18:01 Violins start to state Poignant theme as Lisa says they’ll miss her, Gabi starts to say she’ll miss them too

2:18:05 Music out as she stops herself and tells Lisa she’ll be a fine nun

2:18:28 Cross-fade to Gabi in office as Father asks her if she’s leaving of her own free will, the Mother Superior asks her to reconsider, Gabi signs and blots 3 papers calmly, is asked to give the Mother Superior her keys and is given back her dowry. Gabi doesn’t want to take it but she has to, she kneels as Mother Superior leaves without crossing her forehead

*2:21:02 High quiet strings play open G chords, regular high note on piano as string chords slowly move, Gabi crosses herself and leaves the room

*2:21:33 Main theme on flute and clarinet as chords and piano accents continue, strings settle on discordant note as Gabi is directed to a room where she is to change

*2:21:56 Quiet horn plays Convent theme

*2:22:21 Marimba plays Forgiveness chant over held strings and piano, oboe and bassoon play sighing motif as she starts to undress herself, takes off her wimple

2:23:19 Music out as her hair is revealed to have grey streaks

2:23:36 Gabi removes her ring and leaves it on table with rosary and clothes, picks up suitcase and presses bell, door is released, Gabi pauses before walking to the door

2:24:23 Cut to shot of Gabi opening the door, walking down steps and down cobbled street, at end of street she pauses and then walks off to the right

*2:25:12 High Db major chord on strings quickly crescendos

2:25:15 Bell toll two times as "The End"

2:25:19 Fade to blackout and final bell toll

2:25:23 Bell toll fades.

The symbols at the start of the graphic score involve percussion and strings. The circle represents the tubular bell strokes, because I felt it gave the best impression of the sound, the clock striking or gong sounding effect. The high ‘demented’ strings I felt were best represented with symbols that look something like snowflakes, icy, high and cold, the second string symbol of the pair is slightly simpler than the first because the first chord is more discordant. The line representing the viola solo is fairly self-explanatory, I attempted to make the line thicker where the viola got louder. The coloured dots representing the pizzicato strings show the different parts involved; they give the general impression of the lines the different groups take. I used two basic symbols for the muted brass, where they sounded the same as the pizzicato strings I used the same symbol, where the notes overlapped I used ovals, where they were loud and harsh I used a thick line, and when they state the Main theme near the end of the extract I used long ovals to give the fanfare impression. The full interweaving strings at the end keep their colour coding, this time they play legato, hence the continuous thick lines.

I am optimistically stating that I believe I have detailed events sufficiently in my score for sufficient understanding of how the music relates to the events on-screen.

I chose this scene for my graphic score because I believed I had found a good example of how music can underline the visual events effectively, in very dramatic fashion. The score covers three basic types of mood: nervous anticipation, panic and shock. The nervous anticipation is not readily apparent in the visual events – without the strange-sounding high violins and wandering viola melody the viewer might well wonder why this scene was being depicted at all i.e. there is nothing inherently tension-building in the visuals, therefore the music creates nearly all of the tension in this first section. The quiet regular tolls on the tubular bell give this section an incessant feel, with the demented violin chords, harmonically unrelated cello chord and slow viola combining to give a most unsettling effect. The decision Waxman makes to leave a short period of silence before the panic section is, I feel, a wise one, helping to build the tension even higher and providing a beautiful contrast when the loud strings enter. The Stravinsky-esque pizzicato strings are very effective, although there is plenty of panic in the visuals and the verbal events (such as Gabi’s occasional squeals), the drama is heightened by the string and muted brass combination. Again Waxman decides to ‘write in’ silence in the middle of the attack, as they briefly stop struggling, this compliments the threatening, menacing stance of the Archangel very well, and highlights Gabi’s quiet calling on God. When the strings re-enter it is almost a relief, a release of tension. The silence after Gabi escapes the cell highlights her heavy breathing, crying and calling on God, also creating a feeling of ‘calm after the storm’ in a sense after the panic. Gabi’s shock and shame after she has rung the alarm is well represented by the strident full interweaving strings. The theme they quote, the Shock theme is effective, previously heard when Gabi was asked to fail her exam for the sake of another sister, making a link to previous bad experiences in her life. The visuals and verbal events in this last section create the impression of shock and shame well by themselves, but they are certainly enhanced by the music.

The music in this film is generally used to heighten the visual events, and create a depth that might well not be there without it. The intelligent use of the main themes helps to link together events, atmospheres and emotions in a subtle and effective manner. There is not always emotion inherent in the main themes – except perhaps the Penance theme, Congo theme or Nervous motif – these other themes such as the Poignant and Convent themes gather connotations and meaning as the film progresses. Towards the end of the film especially, Waxman uses these themes, and particular settings of them to create links with events earlier in the film most effectively. A good example would be the scene near the end of the film where Gabi meets her father after she’s returned from the Congo. The Trepidation theme in this scene was first heard when Gabi entered the Convent, it is a powerfully emotive tool, linking back to the feelings connected with that music when it was first stated. There are many instances of this nature throughout the film. Waxman also uses different harmonisations and orchestrations of his main themes to vary the impression given each time, this is very discreet and effective. The main themes are an important tool for linking events and emotions, as the film is long and the storyline quite complicated, it helps to keep a structure.

I feel I have already given my opinion of the music in this film, the fact that I think it is an intelligent and effective score must already be clear. There are various features that lead me to such an opinion; the clever use of main themes, the way the music fits in with the visual storyline yet also creates links of it’s own, the fact that he often mixes together the main themes in a non-obvious way, and varies them with harmonisation and orchestration, and so on. A danger with writing a score for a long film such as this must surely be the possibility of boredom, of hearing the same themes too many times. However, even though the film is long, one is not overly familiar with the main themes by the end, they are varied sufficiently to stave off boredom. I only noticed to what degree Waxman varies his themes when I was working on the cue sheet, it is something I feel is to be admired. To set the music to this film in the larger scale, it is interesting to note how Waxman tackles the issue of how to write a soundtrack for a film about religious life. It is not immediately clear what music would be appropriate, films of this genre are not common. It is perhaps unsurprising that Waxman decides to base some of his score on plainchant melodies. I have not been able to find out if he wrote the plainsong sections himself – whether or not he did, he still makes effective use of them. There are other elements of religious music apart from plainsong, such as some of his harmonisations of melodies ‘sound’ religious (I cannot explain it any better) and he also uses ‘open’ chords – chords without the third – which gives a religious modal effect. My favourite example of good use of plainchant melody is from when Sister Aurelie is murdered in the Congo – as the nuns carry her body out, the music states the Forgiveness chant. It is the juxtaposition of the events of the scene and the choice of music that is so effective here. Another favourite touch of mine is when Gabi enjoys finding confetti under her veil on the boat to the Congo: Waxman quotes the opening bars of Mozart’s ‘Voi che sapete’, heard only once before, her father played it on the piano just before she joined the convent. On the surface this appears a simple idea, but it is worth bearing in mind the words to the song "Tell me fair ladies if you know love, is love this fever troubling me so". These words do seem a little tongue-in-cheek, as Gabi is a nun – although it could be argued that Gabi does actually fall in love with Dr. Fortunati – nonetheless I feel this choice of song and use of it is deliberate and subtle. Another element that I have noticed is the use Waxman makes of silence in the film. Though it is arguable as to whether silence can be music (silence is deafening perhaps?) I certainly feel that he makes very intelligent use of it in certain scenes. I have already talked of its use in my graphic score, but another scene worth mentioning is the final scene, where Gabi leaves the convent. Waxman could well have chosen to write dramatic music for this event, but instead chooses silence, perhaps to reflect the emotional calm Gabi seems to feel, the sureness of mind. Admittedly, the visual and vocal events here make it clear that Gabi is not deeply wrought by her decision to leave, although the silence helps to convey a numb feeling. The fact that the music stops as Gabi removes her wimple – an evocative symbol of the religious life – is interesting, underlining the transition she is undergoing, from the world of the convent to the real world outside. It is this kind of subtle, understated yet effective use of music – and silence – that I feel is the overall impression of Franz Waxman’s impressive score for ‘The Nun’s Story’.