Conspiracy of Hearts

Ralph Thomas and Betty Box belong so firmly to the tale of the British cinema's protracted postwar decline, and their output runs so much to cheerful mediocrity and worse, that it would be churlish not to salute this exception.

A film about a mixed European bag of nuns in sunny Italy, sheltering Jewish children from nasty German occupiers, could have easily wound up as sticky or preachy as a Hollywood movie of the week or after-school special "endorsed by the National Education Association". This production does quite a bit better.

To begin with, the couple took the commercially bold decision to shoot in dramatically suitable monochrome (Rank was very into Technicolor) despite the temptation of those gorgeous locations near Florence. Next, Rank's addiction to polyglot casts proves acceptable, since the nunnery and the Cahtholic church are multinational, as is the war situation: the convention of Colonel Albert Lieven talking in Teutonically accented English and others in Italianate English does not distract.

Thirdly, the cast is well chosen. Sylvia Syms, a rising English rose, was the novice. Michael Goodliffe was a familiar officer/vicar type, decent and tense as the nuns' protective priest. Lilli Palmer, that quintessentially cosmopolitan star, is apt (if a little too soigne) as Mother Superior. Ronald Lewis as the Italian major torn between allegiance to the Axis and revulsion at its persecutions, patronised by Lieven and a worm about to turn, is his customary sombre self. (Both Lewis and Goodliffe were suicides).

Fourthly, the mise-en-scene is ideal for moral conflicts: sunny exteriors and open hillsides against the shadowy cloister and catacombs where the hunt for hidden escapees from a concentration camp culminates. Thomas is no Bresson or da Sica, but he makes good use of his lighting cameraman, and in his workmanlike way keeps the tension boiling. The religious angle (with its dilemmas of obedience, confession and incompatible loyalties) is deftly threaded through the chase to raise the tone.

For a 'U'-certificated production there is an unholy amount of screen time leading up to, and about, killings and executions: it's about younger children but not for them.

As always, Box and Thomas are craftsmanlike, most to be praised for the mistakes and ineptitudes they avoid.

This is not "The Sound of Music" sans music. The storyline is not muffled by subplots, the enemy are not caricatured (Lieven convincingly depicts a non-Nazi career officer, forced into exemplary cruelty by his force's isolation amid partisans) and the slither into sentimentality is avoided nearly all the time. This is the price the script willingly pays for not characterising the children much; on the other hand, the issue of whether nuns gladly harboured Jews and made concessions to Judaism under a Christian roof is not shirked.

Adrian Scott, a member of the Hollywood Ten, outlined a plot based on real incidents which was worked up by Marsha Hunt's longtime husband, Robert Presnell Jr. It was unusual for the Pinewood team to work with Americans, who may have helped keep the film's political aspects uppermost-- and, as it were, salted it with some asperity, so that it plays pretty smartly and kitsch-free today.

Barney Balaban of Paramount saw its premiere while in London and paid Rank handsomely for the rights on impulse. The film fared well in an America not yet used to stories of Nazi anti-Jewish actions: the Auschwitz trial and Eichmann's capture would soon make them too familiar. In Britain, "Conspiracy of Hearts" was one of 1960's top grossers alongside Ralph's and Betty's latest "Doctor" film. Sadly, the latter would be much more typical of them thereafter.

My Mother took me to see this film at the Lowestoft Odeon around 1960 (I was 8) . Why I remember it is that the Cinema Manager told my Mother that the film was on its first screening in the UK even before London (dunno why) and there would be a surprise after the film. The surprise was the Actor Ronald Lewis who came on stage . Unfortunately some of the audience hissed him which put him off a little-he said 'Im one of the Good Guys' or words to that effect but then gave us an interesting talk about making the film. I didn't understand the movie at the time really but seeing it this afternoon was the first time since then. The film showed the Italian troops in a good, professional light when our Dads at the time told us that they had 'chased them all over North Africa'

I first saw this movie in 1960 when I was 10 and was taken to see it with my mother on our weekly Monday night visit to the Cinema. I didn't go out of choice, It was just for me and my mother to get out of my Fathers way so he could get on with jobs about the house. I can't remember many films that I saw at that time but this was one of the few that stuck in my mind. I suppose it was that I could identify with the Children as they were about my age and that it was about the war. Those of us born in the 40's and 50's grew up with stories about the war. It was certainly a topic for discussion I'm our household as my Father had been a radio operator in the RAF from 1939 onwards.

I can remember being deeply moved and disturbed by it even at that young age especially at the climatic ending. Since then I have seen it on TV as it occasionally pops up on UK TV often in the afternoons. The last time it appeared about 18 months ago I took the opportunity to record it on Video. I watch it when I need to renew my faith in mankind as it proves that even in the darkest times, there are people who will risk all for others and their beliefs and that goodness eventually triumphs over evil.

I saw it when I was 8 years old, I'm almost 40 now and I always remember this movie. Catholic nuns in France, hiding Jewish children in their convent during the occupation. Lilli Palmer, I remember her face vividly. There must be a reason, but I can't find a copy of that film, not even on video. Maybe, I should keep the memory as it is, rather than jeopardizing it by seeing again, today. I couldn't sleep after I saw it. I think I lived that film. It happened to me another time, when I was around the same age. A Spanish movie, MARCELINO PAN Y VINO. Strangely enough, both films have religious roots and take place within the walls of convents and monasteries. I wonder what that means.

Towards the end of the second world war, an order of Italian nuns makes all attempts to secure the freedom of Jewish children held captive in a local concentration camp. However when the camp comes under the direct control of German troops, the Sisters' task becomes increasingly dangerous.

Combing elements of The Von Trapp Story and Black Narcissus, Conspiracy of Hearts is a surprisingly powerful depiction of the clash between faith and might, as Palmer's Mother Superior stands firm against Lieven's uncompromising Nazi Colonel. The question of conscience and commitment to duty is repeatedly explored, from the perspective of both nun and soldier - Mitchell's Sister Gerta fears and doubts the Holy Order's actions, Sims' novitiate Sister Mitya is forced to confront her feelings towards Lewis's Major Spoletti, who in turn must choose between military duty and moral salvation. The juxtaposition between Catholicism and Judaism is also fascinatingly explored as the Sisters struggle to comprehend the facets of a different faith.

Universally well-performed by the ensemble, as usual its the supporting performances that stand out - Yvonne Mitchell was a power-house actress and at the peak of her film career (shockingly she is all but forgotten now), and her transformation from angry doubter to selfless devotee is totally believable. In addition, Ralph Thomas coaxes extraordinary performances from his juvenile cast - Rebecca Dignam and Joseph Cuby are beautifully moving without being cutesy or maudlin (Hollywood child actors take note!). At the heart, Palmer creates a depiction of quiet strength, dignity and humour even if we could have coped with a little less lipstick and mascara!