The lives of nuns fall into two camps in cinema: the story of pious and devoted women, or pure exploitative fodder. Director Maggie Betts’ Novitiate eschews both stereotypes in favor of focusing on the moral enigmas of becoming a nun. What compels a woman to become a “bride of Christ?” Do they ever have doubts and desires? Betts’ film probes these questions through some stellar leading ladies that do a lot towards elevating what can feel like dry material.
In the wake of the Vatican II conclave in 1964, an 18-year-old girl named Cathleen (Margaret Qualley) decides to take the steps towards becoming a nun. But Cathleen’s struggles, coupled with changes coming to Catholicism, put everything she knows in doubt.
With the faith-based film as most audiences know it today, there is no room for doubt or even a discussion of how to deal with religion in today’s day and age. Movies about Christianity are already preaching to believers. What director and screenwriter Betts does is leave room for both the appeal and the mystery of religion. In the early ‘60s, the world of a nunnery was known to most through the 1959 Audrey Hepburn film The Nun’s Story – actually referenced by Sister Sissy (Maddie Hasson) as her reason for becoming a nun. Cathleen calls church “peaceful” and there’s something inviting in the neat, ordered rows of young women walking with downcast eyes, their schedules the same day after day. The audience is astounded at the passionate declarations from each woman that they’re “in love” God.
Yet for all their love there must be sacrifice, a theme repeated throughout. For as much as the audience engages in the romanticism of the nunnery, it’s hard not to feel the terrifying claustrophobia and questioning accompanying it. Cathleen comes from a broken home, but reiterates to her non-religious mother Nora (a fiery Juliette Nicholson) that her upbringing has no bearing on her decision to enter the sisterhood. Or does it? Nicholson’s Nora remains the outsider, horrified and confused about what she’s done wrong to force her daughter into this vocation. Even Cathleen herself shoos away the misconceptions that nuns are simply ugly women who “can’t find a husband” or are otherwise outcasts. Cathleen is willing to sacrifice for what she perceives is a perfect love, and there’s no condemnation from the director about that. The audience, and each of the women in the film, is forced to look inside themselves and see if this is devotion or insanity.
Nearly every decision Cathleen makes is peppered with doubt, both by the audience, who have probably never seen Catholicism presented with such stark authenticity, and the characters. Placing this during Vatican II, which overturned many of the Church’s norms regarding being cloistered, only increases the instability within the convent, eventually leading to an explosion with long-standing ramifications. Melissa Leo’s Reverend Mother is the most resistant to this change, mainly because it ends up placing nuns on the same footing as any other Catholic, while priests get to remain in close communion with God. Leo’s character does have a tendency to fall into the typical pratfalls associated with the actress; she screams and demeans the girls. Though she’s not meant to be the villain, it’s hard to dissociate this from the same types of women Leo has played the last several years.
The rest of the actresses are nothing short of exemplary, particularly Qualley as Cathleen and DIanna Agron as Sister Mary Grace. The Reverend Mother’s blind love, bordering on obsession, with God presents itself as what can happen if Cathleen loses herself to God completely. Qualley’s quiet passion in the role is evident, specifically in her eyes and the way she recoils from any human contact. Her scenes opposite Nicholson are emotionally charged as the two women, who each interpret love in different ways, try to understand the other. Agron, for her part, has a quieter presence, acting as the teacher meant to transition the postulants into taking their first vows and entering the “novitiate.” Agron’s beauty and smile helps her live up to her name, but underneath that is a roil of emotions. The other young girls discuss their inner doubts about God’s existence and what it means to give up everything for him, leaving a close-knit ensemble you want to follow.
For all the lengthy discussions the film has, Betts’ script can feel somewhat cold and formal. More often than not, it’s what the characters don’t say that has a more lasting impact. A working knowledge of the Catholic faith also helps if you aren’t paying strict attention to the changes Vatican II ushered in. A nude scene at the end also feels a bit unnecessary considering how restrained the rest of the film has been, though the intention for its inclusion is understandable.
Novitiate is a beguiling movie that requires a thorough examination of your own conscience and connection to religion. As a lapsed Catholic, it’s fascinating and admirable to watch Qualley and company, though hard not to consider their love crazy, and therein is Betts’ point. We shun what we can’t understand, yet find the blind belief in an unseen spirit comforting. Qualley, Agron and the young women are all luminous. Leo is solid, but reliant on her persona.
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