In 1966 ,when the first version of Diderot's novel was released, there was an outcry :the Church insisted that the movie be called "Suzanne Simonin,la religieuse de Diderot ". Half a century later ,history did not repeat. The Catholic Church has seen worse.
Nicloux 's remake is not in the least inferior to Rivette's work ; it's downright different from it ,and with the exception of Micheline Presles, has a more convincing cast : Pauline Etienne, in the tradition of Catherine Mouchet ("Thérèse") , is a more credible tormented nun than the beautiful but inexpressive Anna Karina ; she shines in the scene of her vows where one feels her confusion and her human hesitations .Ditto for Isabelle huppert ,one of the best living French actresses,who effortlessly outshines Liselotte Pulver in the thankless part of the homosexual mother superior who falls madly in love with unfortunate Suzanne who has not got a clue but knows that there's something wrong in this ,to put it mildly, disconcerting relationship .Nicloux smartly uses the old French ditty from the seventeenth century "Mon Père M'a Donné Un mari" (= my father gave me a husband) , which denounced the drama of the numerous daughters married against their will .When the lesbian mother superior reprises the song , she identifies herself at Suzanne's husband ;Huppert is only supporting ,but she blows everyone off the screen in her scenes.
Neither Rivette nor Nicloux was faithful to the end of the novel : after escaping from the convent ,the heroine was desperately looking for a job as a governess or a simple servant in a castle ;the book ends with a PS that augurs badly .The former director gave a pessimistic tragical denouement.
Nicloux ,on the other hand ,developped an aspect of the novel : Suzanne is an illegitimate child ; Diderot who was an atheist , made the mother a hypocrit who thought that,by giving her daughter as an offering to God, she was able to wash her sin away. Some space is given over to this affair which leads to a (relatively) optimistic conclusion : the wonderful pictures of the nature in the last sequences,sharply contrast with the place were Suzanne was "buried alive".
Nicloux 's remake is not in the least inferior to Rivette's work ; it's downright different from it ,and with the exception of Micheline Presles, has a more convincing cast : Pauline Etienne, in the tradition of Catherine Mouchet ("Thérèse") , is a more credible tormented nun than the beautiful but inexpressive Anna Karina ; she shines in the scene of her vows where one feels her confusion and her human hesitations .Ditto for Isabelle huppert ,one of the best living French actresses,who effortlessly outshines Liselotte Pulver in the thankless part of the homosexual mother superior who falls madly in love with unfortunate Suzanne who has not got a clue but knows that there's something wrong in this ,to put it mildly, disconcerting relationship .Nicloux smartly uses the old French ditty from the seventeenth century "Mon Père M'a Donné Un mari" (= my father gave me a husband) , which denounced the drama of the numerous daughters married against their will .When the lesbian mother superior reprises the song , she identifies herself at Suzanne's husband ;Huppert is only supporting ,but she blows everyone off the screen in her scenes.
Neither Rivette nor Nicloux was faithful to the end of the novel : after escaping from the convent ,the heroine was desperately looking for a job as a governess or a simple servant in a castle ;the book ends with a PS that augurs badly .The former director gave a pessimistic tragical denouement.
Nicloux ,on the other hand ,developped an aspect of the novel : Suzanne is an illegitimate child ; Diderot who was an atheist , made the mother a hypocrit who thought that,by giving her daughter as an offering to God, she was able to wash her sin away. Some space is given over to this affair which leads to a (relatively) optimistic conclusion : the wonderful pictures of the nature in the last sequences,sharply contrast with the place were Suzanne was "buried alive".