beloved infidel
by Douglas Messerli
Isobel Lennart (screenplay, based on the book, The Small Woman by Alan Burgess), Mark Robson (director) The Inn of the Sixth Happiness / 1958
After I saw Mark Robson’s The Inn the Sixth Happiness, perhaps for
the sixth time since it premiered in 1958, I decided to check out the comments
about the film on Wikipedia, and was amused by the article’s list of grievances
by Gladys Aylward, the British woman on whose adventures in China the film was
based. Aylward, a small, dark-haired Brit was played in the movie by the rather
tall Swedish blonde, Ingrid Bergman (although Bergman does attempt to
In the very next line of the Wikipedia entry, the author notes, perhaps
with intended humor: “The film was the
second most popular movie at the British box office in 1959.” Obviously the
writers and directors, with all of their falsehoods, had done something right.
Despite the fact, moreover, that even from my childhood encounter with
this film, I recognized it as an epic soap-opera, full of empty pieties, and
that I have always detested its too oft-repeated theme-song “This Old Man,” I
too still enjoy this 50s flick, which is what drew me to see it one more time
the other day.
Some of my interest in this film surely has to do with my childhood fascination with missionaries. My family went to church each Sunday, but we were hardly what you might describe as a religious family (this, despite the fact two of my mother’s brothers were ministers, one Methodist and the other Presbyterian). In the Presbyterian church which we attended I don’t think I ever once heard about missionaries being sent out to convert or even help peoples of other countries. Yet many a Sunday afternoon, I took to my grandmother’s staircase endpost to present my sermon to the “natives.” I was the firstborn child of what would become a brother and sister and dozens of cousins, and my grandmother, aunts, and uncles, encouraged my exaggerated performances, which, of course, delighted me. Later, when a bit older, I even wrote a musical about a missionary family in the Congo (see My Year 2010).
It is now clear to me that all my fascination with missionaries had little to do with bringing religion into other people’s lives, but was simply a “profession” that was filled, in my young mind, with adventure and, particularly, with travel, something that I have always longed for. Although I’ve been to many countries, there are still far more I would like to visit; it’s strange that I chose to marry a man who today refuses to budge outside the boundaries of the southern part of the state of California, who’s terrified of air travel, and has no interest in leaving home for more than a day.
Yet clearly it was the adventure of Robson’s work—the same director who
brought us other cinematic soap-operas such as Peyton Place, The Prize, Nine Hours to Rama, and Valley of the Dolls—not its spiritual
message, that so attracted me. Even today I cannot resist the moment when
Bergman, momentarily acting as the Mandarin’s foot inspector, asking for the
children’s feet to be unbound, is terrified as a village elder becomes
determined to unbind her own feet. Bergman screams out with something like “No,
you musn’t; the pain will be too great!” Bergman as Aylward seemed to contain
such fortitude and strong will that she could even quell a prison riot by
promising the interns better meals and a few hours outside of the gate when
they might work on gardens.
Finally, there’s no question that screenwriter Isobel Lennart can whip up a great story, Anchors Aweigh, Two for the Seesaw, The Sundowners, and Funny Girl (both stage and screen versions) being among some of her numerous other credits. In Lennart’s telling, the woman who was told she was “unqualified” for serving in China, proves herself so remarkable that, in a world terrified of outsiders, she is awarded Chinese citizenship and given a special Chinese name which defines her as a person loved by the people. Even if we never truly comprehend what lies behind Aylward’s determined love and stoicism, Bergman convinces us with her gentle smile and pleading eyes to believe; and believe we do, in her less than in her religion.
Los Angeles, May 20, 2017
Reprinted from World Cinema Review (May 2017).
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