1959 Israel RARE MOVIE POSTER Film THE NUN'S STORY Hebrew AUDREY HEPBURN Jewish

Description

DESCRIPTION
:
Here for sale is an over 6
0
years old EXCEPTIONALY RARE and ORIGINAL Jewish Judaica POSTER
for t
he ISRAEL 1959-19
60
PREMIERE of
FRED ZINNEMANN
film , AWARDS winner and nominee of Academy Awards, Golden Globes, BAFTA Awards and many others " THE NUN'S STORY
" .  Starring
AUDREY HEPBURN , PETER FINCH, EDITH EVANS
and PEGGY ASHCROFT in t
he cinema-movie hall " CINEMA SHARON"
in the small rural town of NATHANYA in ISRAEL
. "CINEMA SHARON" ,
A local Israeli version of "Cinema Paradiso" was printing manualy its own posters , And thus you can be certain that this surviving copy is ONE OF ITS KIND. Text in HEBREW and ENGLISH . Please note : This is NOT a re-release poster but PREMIERE - FIRST RELEASE projection of the film , One year after its release in 19
59
in USA and worldwide .
The ISRAELI distributors of the film have provided the poster an amusing and quite archaic Hebrew text
.S
ize around 28" x 38" ( Not accurate ) . Printed in red and blue on white paper
.
The condition is
very
good . Folded
twice
.
( Pls look at scan for accurate AS IS  images )  Poster will be sent rolled in a special protective rigid sealed tube.
AUTHENTICITY
:
This poster is guaranteed ORIGINAL from 19
59-60
, NOT a reprint or a recently made immitation.  , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
:
Payment method accepted : Paypal
& All credit cards
.
SHIPPMENT
:
SHIPP worldwide via  registered airmail
is $ 25
. Poster will be sent rolled in a special protective rigid sealed tube.  Handling around 5-10 days after payment.
The Nun's Story is a 1959 Warner Bros. film directed by Fred Zinnemann and starring Audrey Hepburn, Peter Finch, Edith Evans and Peggy Ashcroft. Based upon the 1956 novel of the same title by Kathryn Hulme, the story tells of the life of Sister Luke (Hepburn), a young Belgian woman who decides to enter a convent and make the many sacrifices required by her choice. The book was based upon the life of Marie Louise Habets, a Belgian nurse who similarly spent time as a nun. The film follows the book fairly closely, although some critics believe the film shows sexual tension in the relationship between Dr. Fortunati (Peter Finch) and Sister Luke that is absent from the novel. A major portion of the film takes place in the Belgian Congo, site of location shooting,[2] where Sister Luke assists Dr. Fortunati in surgical procedures at a mission hospital. The location was Yakusu, a center of missionary and medical activity in the Belgian Congo.[3] It marked Colleen Dewhurst's film debut.[4] Contents   [hide]  ·       1Plot ·       2Cast ·       3Awards and honors ·       4References ·       5External links Plot[edit] Gabrielle "Gaby" Van Der Mal (Audrey Hepburn), whose father Hubert (Dean Jagger) is a famous surgeon in Belgium, enters a convent of nursing sisters in the late 1920s in the hopes of eventually becoming a missionary nursing sister in the Belgian Congo. After being given the name of Sister Luke and undergoing a postulancy and novitiate which foreshadow her future difficulties with the vow of obedience, she takes her first vows and is sent to a school of tropical medicine. After passing high in her class but not without some spiritual conflict, after struggling with a request by Mother Superior to purposely fail her exam as a proof of her humility, she discovers to her disappointment that she has been assigned to go not to the Congo but instead to a mental hospital, where she assists with the most difficult and violent cases though resenting her tropical medicine knowledge going to waste there. One of these patients, a particularly violent schizophrenic (Colleen Dewhurst) who believes herself to be the Archangel Gabriel, tricks her into opening the cell door in violation of the rules and warnings given, and Sister Luke barely escapes from her to face the shame of her disobedience once again. Nevertheless, she is eventually permitted to take her final vows and sent to her wished for post of the Congo. Once there she's disappointed to learn that she will not be nursing the natives, but instead will be the operating nurse for the segregated whites/European patient hospital. She develops a strained but professional relationship with the brilliant atheistic surgeon there, Dr. Fortunati (Peter Finch). Eventually, the strains of her work and spiritual struggle cause her to succumb to tuberculosis. Fortunati, not wanting to lose the ideal nurse that Sister Luke is and sympathetic with her desire to stay in the Congo, engineers an amazing cure for the TB, a condition which otherwise always requires being sent to medical care (in Sister Luke's case back to convalesce in Europe). Some time after Sister Luke's return to health and work, Fortunati is forced to nevertheless send her back to Belgium as the only nurse qualified to accompany a VIP who has become mentally unstable. She spends an outwardly quiet but inwardly restless period of time at the motherhouse in Brussels before the superior general finally gives her a new assignment. Because it is clear that there is going to be a war, she cannot go back to the Congo, but instead becomes a surgical nurse at a local hospital. There Sister Luke's long struggle with obedience becomes impossible for her to sustain, as she is forced into repeated compromises to deal with the reality of the Nazi occupation, including the fact that they have killed her father. She asks for and with difficulty is granted a dispensation from her vows, and is last seen changing into lay garb and quietly leaving the convent by a back door. Cast[edit] This house on the Sint-Annarei (nl)in Bruges was a backdrop of the movie ·       Audrey Hepburn as Sister Luke (Gabrielle "Gaby" Van Der Mal) ·       Peter Finch as Dr. Fortunati ·       Edith Evans as Rev. Mother Emmanuel ·       Peggy Ashcroft as Mother Mathilde ·       Dean Jagger as Dr. Hubert Van Der Mal ·       Mildred Dunnock as Sister Margharita ·       Beatrice Straight as Mother Christophe ·       Patricia Collinge as Sister William ·       Rosalie Crutchley as Sister Eleanor ·       Ruth White as Mother Marcella ·       Barbara O'Neil as Mother Didyma ·       Margaret Phillips as Sister Pauline ·       Patricia Bosworth as Simone ·       Colleen Dewhurst as "Archangel Gabriel" ·       Stephen Murray as Chaplain (Father Andre) ·       Lionel Jeffries as Dr. Goovaerts ·       Niall MacGinnis as Father Vermeuhlen ·       Eva Kotthaus as Sister Marie ·       Molly Urquhart as Sister Augustine ·       Dorothy Alison as Sister Aurelie ·       Richard O'Sullivan as Pierre Van Der Mal. ·       Jeanette Sterke as Louise Van Der Mal ·       Errol John as Illunga ·       Orlando Martins as Kalulu Awards and honors[edit] The film was nominated for several Academy Awards including Best Actress in a Leading Role (Audrey Hepburn), Best Cinematography, Color, Best Director, Best Film Editing, Best Music, Scoring of a Dramatic or Comedy Picture, Best Picture, Best Sound (George Groves) and Best Writing, Screenplay Based on Material from Another Medium.[5] The Nun's Story was a major box office success in its day. Produced on a budget of .5 million, it grossed .8 million at the domestic box office,[1] earning .3 million in US theatrical rentals.[6] The Nun's Story was considered, for a time, to be the most financially successful of Hepburn's films and the one the actress often cited as her favourite. Hepburn met Marie-Louise Habets while preparing for the role, and Habets later helped nurse Hepburn back to health following her near-fatal horse-riding accident on the set of the 1960 film, The Unforgiven. The Nun's Story received its first official North American DVD release on April 4, 2006. The story behind the book and film was the subject of The Belgian Nurse, a radio play by Zoe Fairbairns, broadcast on BBC Radio 4 on January 13, 2007. The film is recognized by American Film Institute in these lists: ·       2005: AFI's 100 Years of Film Scores – Nominated[7] ·       2006: AFI's 100 Years...100 Cheers – Nominated[8] THE NUN'S STORY FRIDAY MAY, 4 2018 AT 11:15 AM Films in BOLD will Air on TCM *  |    VIEW TCMDb ENTRY The story of the making of The Nun's Story (1959) would, in itself, make a great book or documentary. It's extraordinary that this dramatic tale, tackling the very controversial subject of a nun leaving the order, has been nearly forgotten - even more so when one considers the director (Fred Zinnemann), the star (Audrey Hepburn) and the phenomenal reviews and box-office receipts. By the end of its initial play dates, the picture had become the most successful movie Warner Brothers ever made, with grosses surpassing the million mark! By the late 1950s, Audrey Hepburn was, unquestionably, one of the most celebrated actresses in the business; certainly, at her home studio, she was Paramount's biggest star. Besieged with scripts, Hepburn had wisely turned down the starring role in George Stevens' production, The Diary of Anne Frank (1959), correctly citing her own age (then 28) as the major problem. She was also considering a possible project with director Alfred Hitchcock. Yet, at the same time, amidst all her great personal success, Hepburn was fighting depression, due, in part, to her strong desire to have children. Drawn to Kathryn Hulme's best-selling novel, The Nun's Story, Hepburn saw many parallels with her own life. Like the lead character, Sister Luke, Hepburn was Belgian-born, and, during WWII, felt the terror of having a brother captured by the Germans (in Audrey's case, it was her half brother, Ian). Mainly, it was Sister Luke's fundamental beliefs which appealed to the star, who admitted "...the part was suited to my nature." (Thirty years later, Hepburn would return to Africa, where much of the story took place, to help the underprivileged, much as her character does throughout the course of the narrative.) Considering Hepburn's clout at the time, it's surprising that Paramount rejected The Nun's Story as a viable project for her, though the real problem was the proposed budget. The studio was still quaking from the costs of the King Vidor/Audrey Hepburn epic, War and Peace (1956), and was dubious as to the box-office potential of a nun-theme picture, even though they were concurrently pursuing the Maria Von Trapp biography (later turneinto the popular stage and movie musical, The Sound of Music, 1965) as a possible vehicle for Hepburn. Warner Brothers mogul Jack Warner also had his doubts about a movie with a nun as the main character, but was determined to obtain Hepburn's services. Fred Zinnemann, who was already attached to the project, had been interested in the novel since it was brought to him by Gary Cooper, and his participation added prestige and artistry to the package. After all, Zinnemann had a proven track record of smash hits, including From Here to Eternity (1953) and Oklahoma! (1955). Cooper, who had won his second Oscar® as the sheriff in Zinnemann's High Noon (1952), may have originally thought himself ideal for the role of the dedicated doctor (eventually portrayed in the film by Peter Finch). In addition, he enjoyed working with Audrey in Love in the Afternoon (1957), and probably wanted to repeat the experience. Ironically, Zinnemann had been the first person approached to helm War and Peace, but having just completed Oklahoma!, the understandably exhausted director opted instead for a small-scale, intimate drama (A Hatful of Rain, 1957), although he, too, wanted to work with Hepburn. Almost immediately, the Catholic Church raised objections - mainly that the story of a dedicated nun leaving the order would not be good for recruitment. Dominican advisers reviewed the script line by line, often spending hours debating the use of phrasing, such as "against Nature" vs. "above Nature."  Location shooting was particularly challenging; in fact, no aspect of this mammoth production was simple, as the cast and crew quickly learned. But Zinnemann was soon praising Hepburn's dedication to the film as well as her co-stars': "I stashed my 'nuns' (Hepburn, Edith Evans, Peggy Ashcroft) away at different convents....Making the daily rounds at 10:00 AM, I'd arrive in the warmth of a taxi...and all of them would come out of the cloisters absolutely purple with cold but fascinated by what they were involved in and very excited by the way they were getting prepared for their characters." One of the few conflicts between director and star concerned her aging during the course of the picture's seventeen-year arc. Zinnemann wanted Hepburn to at least have some gray in her hair, but at the story's conclusion, former Sister Luke still looks as young and fresh as she had nearly two decades before. Another battle Zinnemann lost was with Jack Warner over the photography: "...I dearly wanted to shoot the European parts in black and white and...then...to burst out into all the hot, vivid stirring colors of Central Africa." Warner swore that such arty pretensions would hurt the film's commercial prospects, and Zinnemann conceded. Nevertheless, Franz Planer, the brilliant cinematographer, won an Oscar® nomination for his spectacular Technicolor imagery in The Nun's Story. Planer, who remained Hepburn's favorite cameraman, lensed more of her movies than any other cameraman (Roman Holiday, 1953; The Unforgiven, 1960; Breakfast at Tiffany's, 1961; and The Children's Hour, 1962). One important creative battle Zinnemann did win was with the great composer Franz Waxman. Waxman's disdain for the Catholic Church resulted in themes resembling "...background for the dungeons of The Count of Monte Cristo. I decided not to use very much of it. Franz was outraged and complained to...Warner. The wrangle centered on my wish to have absolute silence at the end...as the nun changes into her civilian clothes and walks out the convent door...quietly disappearing...." Zinnemann cleverly countered Warner's argument that all his pictures have big music at the end by suggesting, "If you have festive music, you are saying to the audience, 'Warner Brothers congratulate the nun on leaving the convent.' The end result remains one of the most effective endings in film history, highlighted by Waxman's understated score which was reworked with Zinnemann's guidance. Surprisingly, the music garnered yet another Academy Award® nomination for the composer - he earned a total of 12!). Despite the grueling hot humid weather of the Belgian Congo portion of the production, spirits remained high during filming. Even the ever-present simmering racial tensions were momentarily tempered by some amusing but unexpected moments of culture shock. Zinnemann remembers that "...Our 'nuns' carried make-up cases and smoked cigarettes between set-ups; the blacks who came to watch the shooting could not believe their eyes. Then someone said, 'Of course, these are American nuns.' And the blacks said, '...ah, yes, now we understand.' " While Hepburn carries the weight of The Nun's Story lightly, she is ably assisted by an expert supporting cast including Peter Finch (whose off-the-set womanizing was a source of great amusement to the female cast members), Patricia Collinge, Mildred Dunnock, Dean Jagger, Lionel Jeffries, Barbara O'Neil (Scarlett O'Hara's mother in Gone With the Wind, 1939), Patricia Bosworth (future biographer of Montgomery Clift), and, in a stunning screen debut, Colleen Dewhurst as a mentally disturbed patient. With eight Oscar® nominations, it's surprising that The Nun's Story came up empty-handed on the night of the awards. Or is it? It couldn't have been an industry prejudice against religious pictures because Ben-Hurvirtually swept all the major categories in the 1959 Oscar® race. Still, Hepburn fans swear Audrey was robbed of her award, although one is reminded of Billy Wilder's famous comment, "If she's not a whore, she's a bore." Instead, the Best Actress Oscar® went to Simone Signoret for her undeniably moving portrayal of the adulterous wife in Room at the Top. Warner, who up to the picture's actual release worried about the box-office potential of The Nun's Story, jubilantly wisecracked that he had a last-minute title switch set to go if the picture stalled: She Kicked the Habit. Another amusing bit of trivia related to the film occurred in a first-run California theater in late 1959. Selected as a test case for one of director William Castle's gimmicky devices - Percepto! - the movie house seats were wired with vibrating motors for his horror thriller, The Tingler (1959), while The Nun's Story was finishing its run at the theater. Robb White, the screenwriter of The Tingler recollected, "...The Nun's Storywas to close on a Sunday night, and The Tingler was going to open on Monday. We got in a huge crew...to spend the day wiring the vibrators to the seats. But that night, just at the most tragic moment of The Nun's Story, somebody touched the master switch and the seats began vibrating in wave after wave. There was absolute pandemonium!"  Producer: Henry Blanke Director: Fred Zinnemann Screenplay: Robert Anderson Art Direction: Alexandre Trauner Cinematography: Franz Planer Costume Design: Marjorie Best Film Editing: Walter Thompson Original Music: Franz Waxman Principal Cast: Audrey Hepburn (Gabrielle Van Der Mal), Peter Finch (Dr. Fortunate), Edith Evans (Mother Emmanuel Superior General), Dame Peggy Ashcroft (Mother Mathilde), Dean Jagger (Dr. Van Der Mal), Mildred Dunnock (Sister Margharita), Patricia Collinge (Sister William), Colleen Dewhurst (Archangel), Lionel Jeffries (Doctor Goovaerts), Niall MacGinnis (Father Vermeuhlen), Beatrice Straight (Mother Christophe). C-152m. Letterboxed. Closed captioning. by Mel Neuhaus The Nun's Story Directed by Fred Zinnemann A top-drawer religious film starring Audrey Hepburn about humility, faith, and obedience; part of the Films of Faith Collection. Film Review by Frederic and Mary Ann Brussat Twitter Facebook Link Print A main objective in the monastic life is to polish the heart in humility and to transcend the ego, which is puffed up with pride. But for many serious servants of God, this may lead to an intense internal battle. The Nun's Story presents an multidimensional examination of this struggle in the soul of a serious young woman who wants to use her skills as a nurse in service of others. The drama is beautifully directed by Fred Zinnemann based on a bestselling novel by Kathryn Hume. The screenplay by Robert Anderson does a remarkable job avoiding religious stereotypes about nuns. Particularly heartening is that none of the women superiors who are in charge of spiritual training in the convent come across as a tyrant or an unfeeling authoritarian. Of course, our sympathies are totally with Audrey Hepburn and her riveting depiction of the spiritual journey of her character, Gabrielle, a.k.a. Sister Luke. Gabrielle van der Mal (Audrey Hepburn) is the brightest daughter of a famous French doctor (Dean Jagger). He is supportive of her decision to become a nun, although he thinks it will be a difficult journey given her independent mindedness. Her two sisters and brother are sad that she is essentially exiting from their lives. In the convent, Gabrielle has a hard time with the practice of silence and adjusting to the fact that she must give up all her possessions and any semblance of a personal life. Another sister who entered the order at the same time, leaves after becoming convinced that she will not be able to follow the rigorous standards for the religious life. But Gabrielle perseveres and takes her vows to become Sister Luke. The film has some wonderful scenes of the ritual life of the convent; the vows ceremonies, in particular, are choreographed beautifully. Throughout the film, the devotional practices of the sisters is presented with utter respect. The viewer gets a real feel for what cloistered life was like in the 1930s and 1940s in Europe. Sister Luke is sent to a school in Antwerp to refresh her skills as a nurse and to learn more about tropical medicine. Her deepest desire is to go to the Belgium Congo to work in the missions. But another nun feels very threatened by her, and one of her superiors suggests that Sister Luke could fail her test as a way of demonstrating her compassion for her. But Sister Luke is unable to do it, and she passes wiht flying colors. However, she does not get her dream. Instead, she is sent to work in a mental asylum, a post that proves challenging both mentally and physically. When she finally is sent to the Congo, she is sure that she will be serving the poor natives. But, instead she is assigned to work with Dr. Fortunati (Peter Finch), the surgeon at the hospital for whites. He is a workaholic, but Sister Luke exceeds his hours on the job and soon comes down with tuberculosis. Afraid that she will be sent back to Europe, he decides to treat her himself after she is isolated from the others. The doctor tells her that her exhaustive inner battle with herself over issues of pride, obedience, and perfectionism is unhealthy. He is right and she knows it. Thanks to Dr. Fortunati's efforts, Sister Luke recovers. When a patient needs to go back to Europe, she is sent as the escort and then ordered to remain in the convent by the Reverend Mother Emmanuel (Edith Evans). World War II has broken out, and with it comes more dark nights of the soul for the struggling nun. Teachers in all religions point out the importance of humility as a sign of spiritual maturity. In the Gospels, Jesus promotes a new discipleship of equals and when his followers began to argue over who is the greatest, he bends down and acts out a parable of humility. "I am among you as one who serves." This emotionally resonant film beautifully conveys Sister Luke's struggle with humility. Yet it is not presented in a in a simplistic or sappy way. There is complexity in her attitude toward service. She wants to use all of her talent but constantly stumbles when those overseeing her spiritual life hold her back. In the end, we are taken aback at the fierceness of the ego and the many ways it expresses itself. The Nun's Story makes it clear how difficult it is to practice the Little Way of St. Therese of Lisieux. As Mary Margaret Funk puts it: "Humility matters. It is at the core of our experience of life in Christ. So central is this quality of being that it may be said that humility is to a Christian what enlightenment is to a Buddhist, realization is to a Hindu, sincerity is to a Confucian, righteousness is to a Jew, surrender is to a Muslim and annihilation is to a Sufi. Humility is what others see of our purity of heart." This DVD is part of a three-film collection from Warner Home Video called "Films of Faith." The Nun's Story is by far the strongest of the three and worth the price of the whole set. We also enjoyed The Shoes of the Fisherman (1968), directed by Michael Anderson. It stars Anthony Quinn as a Russian priest who moves from being a political prisoner in Siberia to the Vatican in Rome where he is appointed a cardinal just in time for the conclave to choose a new pope. The surprising decisions of the newly elected pope at the end of the movie may not be worth the long wait in this nearly three-hour movie (with an intermissions!). The third film, The Miracle of Our Lady of Fatima (1952), directed by John Brahm, recounts what happened in a small Portuguese village after three peasant children begin receiving visitations from the Blessed Mother. If you don't know the story, the movie is interesting, even though the style of it seems quite dated.  ebay4335