However, the incessant wind that blows through their mountain location becomes a distraction, added to that are the exotic sights, sounds and smells, which begin to drive even Sister Clodagh away from her calling and into her memories of the man she loved before entering the convent. Cinematographer Jack Cardiff personally supervised the new digital transfer, which is quite beautiful to look at. Fog filters were applied to the film s original photography, so there are some sequences in the film that are intentionally hazy. Colors are strongly rendered and would appear to be a close approximation of an original British Technicolor print of the film. As I mentioned above, the colors in the film start off in a subdued manner and gradually build in intensity to the film s colorful climax.
Flesh tones are sometimes intentionally pale, but they are accurate.
All of the hues are completely stable, including the intense reds that show up late in the film. Blacks are accurately rendered, and the level of shadow detail is good for a color film from 1947. Film grain is somewhat noticeable at various points throughout the film, but is never distracting. There are some minor blemishes that crop up occasionally, however they are easily ignored on this movie that is more than a half a century old. The Dolby Digital monaural soundtrack does have the frequency limitations of a film more than half a century old, but it never sounds distorted.