The White Sister (1933) User Reviews

old film with Clark Gable and Helen Hayes

[blanche-2 · 7/10 · 4 October 2015]

One of the reviews on this site talks about the good old days when, if you wanted to see a film, you had to set your alarm for 3 a.m., or stay up past 11 p.m. in order to see it. And most of the time, five minutes into it, you fell asleep.

"White Sister" is a remake of a film starring Lillian Gish and Ronald Coleman. Studios often did this, making one an A-film, and remaking it as a B-film. I am thinking this was a B film since I don't think Clark Gable had quite made it big yet; he was still being "groomed." Helen Hayes, of course, was from the stage, and while she made some films, she never became a superstar.

Hayes plays Angela, the daughter of a Prince (Lewis Stone). She is betrothed to a banker, Ernesto Traversi. He's boring; Angela has a lot of verve and is interested in fun, as young people are.

She meets Lt. Giovanni Severi (Gable) at a carnival, and they fall in love. When she tells her father, he is furious. Angela rushes to Giovanni's barracks, but he isn't there; she is sent to the Officer's Club. Meanwhile, her father had the same idea and is en route to the barracks when the cars crash, and her father is killed. Angela is injured.

She feels terribly guilty and, at any rate, she can't marry him while she is in mourning. He goes into battle, and it seems that he has been killed.

Devastated, Angela enters a convent and takes her vows as a nun.

Some time passes, and it turns out that Giovanni escaped from a prison camp and is being cared for on a farm. With his captors on his trail, he takes off and eventually gets home and goes looking for Angela.

This is a well-acted story, schlocky by today's standards, but still moving. I think it's because of the sincerity of the performances. Helen Hayes as a young woman was pretty. I notice she was never photographed full face, perhaps because her eyes were so far apart. I'm just guessing.

One would think that by today's standards, the acting would be melodramatic and seem over the top, but it doesn't. Hayes was a great actress - today there is a theater, a hospital, and an award named for her. She gives a lovely performance, soft and fragile.

Clark Gable here is young and handsome and does a solid job. He isn't smooth like Ronald Colman; he has a toughness and a ruggedness that would serve him well over his career.

I really enjoyed the movie. It has a sweetness about it not found in today's films.

Fates Just Keep Them Apart

[bkoganbing · 6/10 · 12 September 2011]

This version of The White Sister is the third and final one to date that was brought to the big screen. This old fashioned drama with heavy religious overtones is not a likely candidate for a modern remake.

It's that second version that is the most known. Shot in Italy in 1923 it was the breakout picture for Ronald Colman as he starred with Lillian Gish and a cast of Italian players because the film was shot on location in Italy, a very unusual thing for the time.

In the Citadel Film Series book the Films of Ronald Colman, it was mentioned that Colman had a swarthy complexion and that was why this erudite man of the English speaking language was cast in the film. The same could be said for the casting of Clark Gable as the male lead opposite Helen Hayes in this sound version.

The story was updated from the 19th century and the Italian colonial wars in Libya to World War I. Gable is an air ace in the Italian Air Corps and he meets Helen Hayes who is the daughter of the local nobleman Lewis Stone. He's got an arranged marriage with wealthy Alan Edwards who will help this noble, but impoverished family out of debt. But Helen wants Clark after spending a little time with him.

But fates just keep them apart, especially after Lewis Stone is killed in an automobile crash and Gable goes off to World War I. Other than the updating of the time of the story and the elimination of a sister for Hayes, if you've seen the Colman-Gish silent version you know what happens here.

Someone like Tyrone Power who was a few years away from breaking into stardom at another studio would have been far better at handling the mushy romantic dialog. Certainly Ronald Colman might have done well with it even though he was British to the core. Gable is too American for the part though he does his best with it. The female lead is very suitable to Helen Hayes, especially with her Catholic background.

Fans of Clark Gable will still like The White Sister, but it will never be rated among his better films.

Don't listen too hard or you'll hear it creak

[jjnxn-1 · 5/10 · 24 July 2014]

Over the top melodrama isn't a bad antique but it is an antique.

Overwrought emotions dominate from almost the first frame and only become more hard to swallow as the picture unspools.

Part of the problem lies with Helen Hayes. Perhaps it's partially my own perception having become familiar with her when she had moved into her highly entertaining old lady phase but she seems too old for her part or her pairing with Clark Gable. It doesn't help that she was never completely comfortable on the screen in her youth relying on stage techniques that don't translate well to the movie screen. Her method and Gable's do not mesh and while she's playing to the back row he is his usual low key self, they share little chemistry.

The film has its moments and a decent supporting cast but the lack of rapport between the two leads in what is basically a story of great unrequited love makes this a struggle to get through at times.

Memories

[pixelwks · 22 December 2007]

Back in the days before VCR's I set my alarm clock to 3:00 Am to watch this film. If you were a film buff back then you had no choice, the TV told you when to watch something. I was a big Clark Gable fan and this was a pretty obscure film that I was keen on seeing.

My grandmother wandered in and sat down with me to watch. She not only knew the film immediately but remembered every moment in the film like she had just seen it. She remembered what she wore and what she had for lunch that day in 1934. This movie was like a time machine for her. She cried at the end like a little girl.

I lost my grandmother not long after that and this memory has stayed with me for 30 years.

I haven't seen the film since but I remember it being a very old fashioned melodrama. It will never get to DVD I suppose.

A seemingly odd pairing makes good in a timeless romantic melodrama.

[mark.waltz · 7/10 · 7 December 2016]

The legendary future "King of Hollywood" meets the future "Queen of Broadway" in this remake of a silent classic that starred another odd pairing. Clark Gable was at the start of a long reign as the top dog at MGM, while Helen Hayes, already a stage star, attempted a screen career that left her cold because of her longing for the footlights. A recent Oscar winner, she had several more years to go on her contract, and did the best she could with what she got. Gable, just over a year from receiving his Oscar, was made for the cinema. Hayes, however, longed for applause, not something you get from being 15 feet tall on a movie screen.

Their single pairing has them as star crossed lovers during World War I who are torn apart by fate. Believing him dead, she goes into a convent, leaving behind the life she's known, certain that his death was God's way of telling her that she was not meant to be a wife. Gable, in the meantime, struggles to get back to her, tearing them both apart when the truth comes out.

Co-starring Lewis Stone as her stern father, Louise Closser Hale as her companion, Edward Arnold as the priest who advises her and May Robson as the kindly mother superior, quite a different role for her from the same year's "Lady For a Day". This is quite a different type of film for the rugged Victor Fleming who directed gable in several tough guy roles. The MGM gloss is glorious, and if you open your heart, you might find it nearly broken from the emotional story.

B movie

[oewnaynailf · 7/10 · 4 December 2004]

Throwing Clark Gable against God isn't exactly the best plot, but the movie is watchable. Giovanni (Gable) falls in love with Angela, a prince's daughter, after running into her at a festival. Complications arise for the two of them, including (spoilers ahead) Angela's fiancé Ernesto, her father's death, Giovanni's recruitment into war, and her eventual commitment to God.

The first half of the film is pretty interesting as Gable wooing Helen Hayes is entertaining for the most part. Afterward, Hayes's indecisiveness about her way of life drags on a bit. In the beginning of the movie, she wishes to adventure out into the world and celebrate, then it takes her some time to realize she loves Giovanni, but a possible life with him is eventually put to an end as she becomes a nun.

A movie worth catching on television on a rainy day.

what happens when you give good actors lousy material

[planktonrules · 6/10 · 18 March 2006]

Uggh! Apart from the wonderful acting of Helen Hayes and Clark Gable, this is a very silly and forgettable romance. Clark plays a young soldier than falls for a princess. They know that their love is doomed due to the difference in their social status, but despite everything their love seems unavoidable. Later, when she thinks Gable dies, she drops everything to become a,....NUN!!! Then, when Gable returns it is too late,...she's married to God and cannot renounce her vows (though exactly WHY I couldn't figure out). If you haven't guessed, the plot just seems really hokey and silly. And, unfortunately, it is just that and nothing more. I only recommend it for fans of Hollywood's Golden Age and Clark Gable. All others, I'm afraid, will see it and be turned off older movies and that would be a shame.

By the way, this is a remake of a silent film which starred Lillian Gish and Ronald Coleman. In many ways, the film was better than this 1933 remake and the old fashioned plot seems more suited for a silent.

Testing the Vows

[view_and_review · 6/10 · 14 November 2023]

OK, I admit I'm glad I watched "The White Sister" to the end. It was touch and go there for a minute. I almost bowed out, but I stood strong and continued to watch.

You see, I don't have an affinity for romances, so once I hear oaths of affection and undying love, especially after a few encounters, I shutdown real quick. Spare me the flowery talk and the mistaking of infatuation with love. So, when Lt. Giovanni Severi (Clark Gable) started in on Angela Chiaromonte (pronounced Keer-o-monte) (Helen Hayes) I didn't want to hear it. Here was Helen Hayes falling in love with another soldier (see "Farewell to Arms") and here was another woman engaged/married to a stuffy man of royalty/money who was swept off her feet by a man who could show her a good time (see "The Devil to Pay!", "Fast and Loose," "Titanic," and a host of other movies).

So, "The White Sister" was painfully underwhelming to start.

Things began to change and become more interesting when Giovanni went off to war and was presumed K. I. A. Would Angela find another man? Would she move out of the country? Would she go on a quest to find Giovanni not believing he was dead? Those were the only courses of action I assumed she'd take.

How about none of the above. Angela joined a convent. She pledged her life and her soul to Jesus. That's huge. I thought it was a bit hasty, and I certainly didn't see it coming. I could see her remaining single and cellobate but not that way.

This was a tremendous vow she made, and at the time we, as the viewers, knew that Giovanni was still alive, efforting to get back to Angela. What would she do once she saw him? We know she'll faint because that's standard fare, but what will she do once she recovers?

It was just the drama this romance needed. It was just the curve ball that makes a movie standout. It wasn't like she married another man because that's a vow that's easily broken. We see those vows broken all the time. Being married to the church is another vow entirely.

I liked the direction "The White Sister" went in. It made a dull romance something worth watching for an unromantic like me.

Free on Odnoklassniki.

Oh, brother!

[lianfarrer · 4/10 · 24 December 2006]

The screenwriter for "The White Sister," Donald Ogden Stewart, has an uncredited bit playing the hind end of a horse; that pretty well sums up this picture. It's an insipid, implausible, and uncompelling film that wastes a lot of prime MGM talent.

***SPOILER ALERT*** The story concerns the ill-fated love between a sheltered, aristocratic Italian girl, Angela Chiaromonte, and a dashing soldier, Giovanni Severi. He pursues her despite the strenuous objections of her father and thwarts her marriage to a wealthy banker—an alliance that apparently was meant to save the girl's family from financial ruin. Their romance leads indirectly to the death of Angela's father in a car crash. The affair goes downhill from there. Throughout the film, Angela and Giovanni keep getting together only to be torn apart—first by her father, then by the war, and then by God himself. Their rotten luck and bad timing are almost comical. Sent off to battle, Giovanni implausibly survives a horrific plane crash, then makes a daring escape from a German prisoner-of-war camp, only to find that Angela, believing him dead, has become a nun. At this point, there's nothing left for him to do but die an anticlimactic death with his white-habited fiancée at his bedside.

The two leads, Helen Hayes (Angela) and Clark Gable (Giovanni), give it their best, but they can't overcome being both miscast and mismatched. Coming into his own just as films learned to talk, Gable exemplified the "new" American male: confident, brash, and openly sexual. The old-fashioned pieties of this movie fit him like a straight jacket. Hayes is more plausible in the role of the spirited/spiritual young girl. While you can see how she'd be carried away by Gable's charisma and animal magnetism, it's hard to understand why he'd be so attracted to this mousy little innocent. The whole enterprise might just have worked with someone like Leslie Howard as Giovanni; his restrained classical style would have been better suited to this dated material.

Other welcome and familiar faces include Edward Arnold as a sympathetic priest (like Gable, though, he's seen to better advantage in earthy or roguish parts); Louise Closser Hale as Angela's duenna/companion, and May Robson as the Mother Superior. Uncredited but recognizable are Gino Corrado as a chauffeur, Nat Pendleton as Giovanni's soldier buddy, and Greta Meyer as the Italian-German woman who nurses Giovanni back to health after his plane crash.

A minor quibble, but I found it hugely annoying—none of the characters can agree on how to pronounce "Giovanni." Hayes, as Angela, seems to say it differently (and wrong) every time, which is odd considering her character is supposed to be madly in love with him.

Worth watching mainly as an opportunity to catch Helen Hayes in one of her infrequent film roles (her reputation was primarily as a stage actress) and for Gable's characteristically charming performance (not to mention beefcake appeal!) in an uncharacteristic role.

Dramatic Helen Hayes vehicle

[HotToastyRag · 4/10 · 22 December 2019]

The opening sequence of The White Sister is worth watching, if only to appreciate the filmmaking technology in 1933. There's a crowded, joyous festival in the town square, and it's filmed with inventive camera angles and movements that make you think you're watching a movie ten years ahead of its time. I wasn't the biggest fan of the romance, but the beginning was very entertaining.

Onto the plot: Helen Hayes is engaged to a man she doesn't love. Her father, Prince Lewis Stone-it seems like he's always playing her father, doesn't it?-approves of the match, but she longs for adventure and excitement. She's drawn to the boisterous festival, and during the commotion, she catches a glimpse of Clark Gable and immediately falls in love. They start meeting in secret until she gets bold enough to tell her father she wants to call off her engagement. How does Lew react? If you've seen his movies, you know he often doesn't make it to the end, and this one's no exception. Just as in Vanessa, Her Love Story, he dies, and Helen puts her grief ahead of her romantic feelings. There's a lot more drama included in this movie-it is a Helen Hayes picture after all-so if you like her, you might want to check this out. I liked Vanessa better, but you can rent both and see which one you prefer. In The White Sister, I never felt she loved Clark Gable enough to do what she does later on in the movie. No spoilers; if you're intrigued, rent it!

A Catholic picture!

[JohnHowardReid · 8/10 · 26 January 2018]

For a female equivalent of Valentino in popularity and prestige, it would be hard to go past Lillian Gish - at least until Garbo appeared on the scene in Flesh and the Devil (1926). One of her most popular films, The White Sister (1923), is marketed on a DVD set with the 1933 version by the Warner Archive. There are actually four movie versions of the 1909 novel by Francis Marion Crawford and the 1909 play adapted by Crawford and Broadway author-director, Walter Hackett. Considering that the overly verbose play ran only 48 performances in New York, that's certainly a remarkable achievement. It's also astonishing that three of the four movies are available on DVD. Warner Archive market a set of the 1923 and 1933 versions. Laguna Films have the 1960 Mexican version, La Hermana Blanca.

Produced by Hunt Stromberg and directed by Victor Fleming, the 1933 version is a high-budget production if ever there was one. It's also very overtly a Catholic picture, obviously aimed at innoculating M-G-M from the church's criticism of Hollywood studio's "turning audiences into pagans" (to quote a Joe Breen ally). In fact the picture often resembles The Nun's Story (1959) in its overt, highly detailed display of veiled church ceremonies. Unlike the Fred Zinnemann picture, however, there is not even the slightest shadow of doubt that the Church's philosophy is God's philosophy and that the Church's way is - without the faintest degree of dissension - the right way. Nonetheless, as a spectacle, these scenes do make an impact, although one has a feeling that the movie is always running slowly downhill from its vibrant opening scenes at the carnival. The stars (Helen Hayes and Clark Gable) and even the minor players too seem to be, scene by scene, becoming less enthusiastic, less charismatic as the script doggedly unwinds for 105 minutes towards its predictable, yet abrupt and nonetheless disheartening conclusion. Of course, like many screen adaptations, Fleming's White Sister bears only a passing resemblance to the novel. Gone are two of the book's three principal support characters: the wicked half-sister (so brilliantly played by Gail Kane in the 1923 film) and the hero's brother (not so colorfully interpreted by Gustavo Serena). The deletion of the brother means, of course, that the 1933 film has no climax. Nonetheless, although I'd give the visuals a lesser rating than the Sunrise Silents version, Warner have a far, far, far superior sound-track. The original music score by Garth Neustadter is the best I've ever heard. It brought tears to my eyes.

This romantic weepie is nunsensical! I'll stick to comical singing Sisters.

[crispy_comments · 3/10 · 5 December 2006]

I admire the stars of this film, and they give great performances, as expected. The acting strikes all the right emotional chords, but unfortunately the material is weak - one of those Doomed Romances where the plot contrives to keep the lovers apart through one calamity after another, and some stupid, unnecessary sacrifices made by the Heroine.

She believes he's been killed in the war and becomes a nun. He escapes from prison camp *just* too late to stop her from taking her final vows. Oh, fate is Cru-el! Of course you're supposed to enjoy the soapy drama without questioning it, and have a good cry, but I just roll my eyes and berate the characters on the screen.

She could've waited a bit before taking such a radical step - after all, he was only missing & presumed dead. I wouldn't be giving up on *my* True Love so soon. And after the poor guy struggles repeatedly to get back to her, how is he rewarded for being so brave, clever and loyal? He finds out she wasn't loyal to *him*, and she isn't brave enough to be with him no matter what. (I choose to interpret the "White" in this film's title as "Cowardly", thankyouverymuch).

Oh, she can't renounce her vows (even though technically she *can*). It's Too Late. She's married to Jesus now. Even though she admits she still loves Gable and wouldn't have gone through with it if she'd found out he survived. Which means her vows are a mockery anyway and she pretty much lied during the ceremony. Isn't it compelling to watch someone struggle to suppress their real feelings for the sake of a promise made because it gave her "comfort", even when the reason & need for said comfort has been removed? No, it's just infuriating.

The ending really piles on the soapsuds, as the Hero finally accepts her decision, and they have their upteenth Moving Goodbye Scene ...How many times do we have to watch these two say Goodbye Forever?! 1. when her father disapproves of him & she tries to honour her engagement to another man - 2. when she feels too guilty to be with Gable now that her father's gone, because dad died while chasing her (!) to stop her from being with Gable, you see! - 3. when Gable goes off to war - 4. when he first visits her at the convent & she sends him away - 5. when he finally stops pursuing her but promises to love her for the rest of his life ... and get ready for one more! A few seconds later the "rest of his life" is cut short (with just enough time to say Goodbye again though!) as he's killed by a bomb during a raid (which wouldn't have happened if she hadn't insisted on going back to the convent, under his escort).

Sheesh. Jesus really hates this guy for moving in on His woman, eh? Gable promises to wait for her in the afterlife, but I have a feeling the Eternal Love Triangle will never be resolved. God, the big bully, will keep tripping Gable up with banana peels in Heaven. Or maybe He'll just remove the competition and send the guy to Hell. Fate is Cru-el that way.

"The White Sister" started off promisingly, with some cute and amusing courting scenes between the would-be lovers. Too bad the film descended into contrived melodrama that only a masochist (or a repressed nun, but now I'm being redundant) could enjoy.

...I might have married Ernesto.....I married......

[dbdumonteil · 8 April 2011]

It's odd that some of Gable's movies of the time directly dealt with religion: in " the laughing sinners "-check the title- he played a salvation army officer;in "Polly of the circus" ,he portrayed a minister.And though in "the white sister " he is cast as a dashing young officer ,the whole movie is steeped in religion,to be precise ,the catholic rites.The heroine is very anxious to go to confession;when she thinks her only love is dead ,the only way out is to take her wows :the scenes which take place in the convent are the most interesting in the whole movie,depicting in lavish details how a woman becomes a nun ,how a girl "marries " Christ.For that matter ,Fred Zinneman's "a nun's story" starring Audrey Hepburn is also absorbing.

Helen Hayes is the stand out and she's touching even if the role may seem old fashioned today.She was also the delightful old lady -an unlikely stowaway-in "Airport" (1970)(an Oscar-winning performance)

white sister

[mossgrymk · 4/10 · 10 July 2023]

I guess if you are someone who really gets off on crying at the movies then you'll enjoy this outpouring of sentimental slop. But for the vast legions of the relatively dry (and clear) eyed it's fairly insufferable stuff. Plus, it features one of my all time least favorite actresses in the lead. I realize that Ms. Hayes is considered a brilliant theatre thesp, and maybe she was, but to watch her in sound films is to watch someone who might as well have a bumper sticker on her limo that reads "I'd rather Be Doing Silent Pics". I guess if I had a voice that sounds like Gracie Allen I'd feel the same way. Add complete and utter lack of chem between her and Gable and you can see how this movie quickly descends into boredom and is only briefly lifted out of the ennui pit by some good aerial battle action that, alas, is too little and way too late. C minus.

PS...Hayes, Gable and Lewis Stone are about as Italian as the 4th of July in Indianapolis.

Nun But The Lonely Heart

[lugonian · 8/10 · 24 June 2023]

THE WHITE SISTER (Metro-Goldwyn-Mayer, 1933), directed by Victor Fleming, stars Helen Hayes and Clark Gable for the first and only time (not counting separate scenes for the same movie titled NIGHT FLIGHT (1933) starring John and Lionel Barrymore). Based on the 1909 novel by F. Marion Crawford and dramatized by Walter Hackett, THE WHITE SISTER was used as the basis of two earlier silent screen treatments (Essanay, 1915) with Viola Allen and Richard Travers; and more famously (Metro, 1923) starring Lillian Gish and Ronald Colman. This 105 minute adaptation for the screen by Donald Ogden Stewart updates the story to the World War but remains true to form with material from which it is based.

Set in Italy, Angela Chiarmonte (Helen Hayes) is introduced as a religious woman whose closest friend is her parish priest, Father Saracinesca (Edward Arnold). Her father is Prince Guido (Lewis Stone). She is engaged to Ernesto Traversi (Alan Edwards), a man of her father's choosing. During the church festival, Angela's limousine is rear-ended by a car full of soldiers driven by Giovanni Severi (Clark Gable), who takes an immediate interest in her. After meeting him again at the carnival, Angela goes againstthe wishes of her her caretaker/companion, Mina (Louise Closser Hale) by spending time with this young soldier. After his visit to her home, and six days before her marriage to Ernesto, Angela and Giovanni are caught kissing by her father. With Giovanni forced to leave, Angela argues the fact she loves this soldier and refuses to marry a man she does not love. Not wanting Angela to suffer the same fate as his late wife, Guido follows Angela to the officer's club where she is to meet Giovanni, only to be killed in a car accident which leaves Angela in a state of shock. Only after Angela resumes her love with Giovanni, he is called off to war with hope of marriage upon his return. Receiving word of Giovanni killed in action, Angela chooses a new life by becoming a nun. With Giovanni having survived injuries and three years in prison camp, he makes his escape, searching for Angela, unaware she has already taken her final vows. Featuring May Robson (The Mother Superior); Nat Pendleton, Inez Palage and Gino Corrado in smaller roles.

Having first seen THE WHITE SISTER on New York City's WNEW, Channel 5 in 1970, aside from getting to see a much younger Helen Hayes, whose performance in AIRPORT (Universal, 1970) stole the show from it's all-star cast (winning an Academy Award as Best Supporting Actress), I was unaware this premise had been done twice before, making this one of the many sound remakes of material done during the silent film era. Regardless of American actors playing Italian characters, Helen Hayes and Clark Gable (with mustache) are believable enough to overlook these obstacles which thankfully did not have them attempt Italian accents. Memorable moments include behind the scenes in the nunnery with Angela taking vows to the supreme sacrifice for her love to the church and God. Though not strictly a religious movie, it's a love story bearing a religious theme. Tastefully done, well directed and acted by its principal players make this worth seeing.

Reportedly a success in 1933, THE WHITE SISTER never got home video distribution, but did become available on DVD with second disc being the 143 minute Lillian Gish edition, as well as occasional broadcasts on Turner Classic Movies cable channel. (***)

Wonder Film!

[thedabara2-1 · 10/10 · 12 June 2001]

This is my all-time favorite film. A lovely romantic love story with Helen Hayes & Clark Gable. It is not on video so, your only chance to see it is if you get TCM (Turner Classic Movies). They sometimes air it. If it is on...be sure to catch it!