Editing Black Narcissus (section)

==Production==
===Development===
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| image1    = Deborah Kerr 3.jpg
| caption1  = Deborah Kerr as Sister Clodagh
| image2    = David Farrar.jpg
| caption2  = David Farrar as Mr Dean
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| image1    = Kathleen Byron.jpg
| caption1  = Kathleen Byron as Sister Ruth
| image2    = Black Narcissus (1947), screenshot of Jean Simmons.png
| caption2  = Jean Simmons as Kanchi
}}
''Black Narcissus'' was adapted from [[Rumer Godden]]'s 1939 novel of the same name.{{sfn|Street|2015|pages=5–8}} Michael Powell was introduced to the novel by actress [[Mary Morris]], who had appeared in ''[[The Thief of Bagdad (1940 film)|The Thief of Bagdad]]'' (1940) and an earlier film where Powell had collaborated with Pressburger, ''[[The Spy in Black]]'' (1939).{{sfn|Street|2015|p=11}} Godden had adapted her novel for a stage production for [[Lee Strasberg]] in the United States, but allowed Pressburger to write his own screenplay adaptation with Powell.{{sfn|Street|2015|p=11}}

===Casting===
Kathleen Byron was among the first to be cast in the film, in the role of the unstable Sister Ruth.{{sfn|Street|2015|p=22}} Pressburger described Byron as having a "dreamy voice and great eyes like a lynx", which he felt appropriate for the mentally disturbed character.{{sfn|Street|2015|p=22}} Deborah Kerr was cast in the role of the leading Sister Superior, Sister Clodagh.{{sfn|Street|2015|p=22}} Pressburger chose Kerr for the role despite the reservations of Powell, who felt she was too young for the part.{{sfn|Street|2015|p=22}} At one point, Powell considered [[Greta Garbo]] for the part.{{sfn|Street|2015|p=22}}  Kerr was paid £16,000 for fifty-five days of work.{{sfn|Street|2015|p=23}}

David Farrar was cast as Mr Dean, the virile British agent who becomes the object of Sister Ruth's obsession.{{sfn|Street|2015|pages=22–23}} Farrar was paid £4,500 for forty-five days of shooting.{{sfn|Street|2015|p=23}} Flora Robson appears as Sister Philippa, a gardener in the convent.{{sfn|Street|2015|p=23}}

Of the three principal Indian roles, only the Young General was played by an ethnic Indian, Sabu; the roles of Kanchi, played by Jean Simmons,{{sfn|Street|2015|p=24}} and the Old General, played by Esmond Knight, were performed by [[Racial brownface|white actors in make-up]].{{sfn|Street|2015|pages=22–25}} Kanchi, 17, is described by Godden as "a basket of fruit, piled high and luscious and ready to eat. Though she looks shyly down, there is something steady and unabashed about her; the fruit is there to be eaten, she does not mean it to rot." Godden approved of Simmons's casting, remarking that she "perfectly fulfilled my description".{{sfn|Street|2015|p=25}} The Indian extras were cast from workers at [[Surrey Commercial Docks|the docks]] in [[Rotherhithe]].<ref>Michael Powell, commentary on the Criterion Collection DVD, ch.6</ref>

[[File:Black_Narcissus_-_painting_comparison.jpg|thumb|upright=1.2|right|Before-and-after stills: the top shows the scene as shot, the bottom incorporates W. Percy Day's [[Matte (filmmaking)|matte painting]], creating the illusion of a deep cliff]]

===Filming===
Filming of ''Black Narcissus'' began on 16 May 1946, and was completed on 22 August.{{sfn|Street|2015|p=28}} The film was shot primarily at [[Pinewood Studios]] but some scenes were shot in [[Leonardslee]] Gardens, [[West Sussex]], the home of an [[Indian Army (1858–1947)|Indian army]] retiree, which had appropriate trees and plants for the Indian setting.{{sfn|Powell|1986|p=562}} While Powell at the time had been known for his love of location shooting, with ''Black Narcissus'' he became fascinated with the idea of filming in the studio as much as possible.{{sfn|Street|2015|p=12}}

The film is known for making extensive use of [[matte (filmmaking)|matte paintings]] and large-scale landscape paintings (credited to [[Walter Percy Day|W. Percy Day]]) to suggest the mountainous environment of the Himalayas, as well as some scale models for motion shots of the convent.{{sfn|Street|2015|pages=27–30}} Powell said later: "Our mountains were painted on glass. We decided to do the whole thing in the studio and that's the way we managed to maintain colour control to the very end. Sometimes in a film its theme or its colour are more important than the plot."

For the costumes, [[Alfred Junge]], the art director, had three main colour schemes. The sisters were always in the white habits that he designed from a medley of medieval types. These white robes of heavy material stressed the sisters' other-worldliness amid the exotic native surroundings. The chief native characters were robed in brilliant colours, particularly the generals in jewels and in rich silks. Other native characters brought into the film for "atmosphere" were clad in more sombre colours with the usual native dress of the Nepalese, Bhutanese and Tibetan peoples toned down to prevent overloading the eye with brilliance.

According to Robert Horton, Powell set the climactic sequence, a murder attempt on the cliffs of the cloister, to a pre-existing musical track, staging it as though it were a piece of visual choreography. There was some personal, behind-the-scenes tension, as Kerr was the director's ex-lover and Byron his current one. "It was a situation not uncommon in show business, I was told," Powell later wrote, "but it was new to me."<ref>{{cite news| url=https://www.latimes.com/archives/la-xpm-1997-sep-21-ca-34463-story.html| title=Really Big Shoes| date=21 September 1997| newspaper=Los Angeles Times| language=en-US| author=Turan, Kenneth| archive-url=https://web.archive.org/web/20191009043003/https://www.latimes.com/archives/la-xpm-1997-sep-21-ca-34463-story.html| archive-date=9 October 2019| url-status=live}}</ref>

The film was intended to end with an additional scene in which Sister Clodagh sobs and blames herself for the convent's failure to Mother Dorothea. Mother Dorothea touches and speaks to Sister Clodagh welcomingly as the latter's tears continue to fall. When they filmed the scene with the rainfall on the leaves in what was to have been the penultimate scene, Powell was so impressed with it that he decided to designate that as the last scene and to scrap the Mother Dorothea closing scene. It was filmed but it is not known whether it was printed.<ref name=lostscene>{{cite web |url=http://www.powell-pressburger.org/Reviews/47_BN/LostScene.html |access-date=31 October 2009 |title=Lost Scene from Black Narcissus |first=Steve |last=Crook |website=The Powell & Pressburger Pages}}</ref>