High concept comedies are usually associated with Hollywood and often described as something that shows lack of creativity. Such films, however, can be made outside of Hollywood and even by studios that became famous for not being mainstream. One of such examples is Nuns on the Run, 1990 British film written and directed by Jonathan Lynn.
Protagonists are Brian Hope (played by Eric Idle) and Charlie MacManus (played by Robbie Coltrane), two small time criminals who complain about their jobs becoming increasing violent and dangerous. They would very much like to end their criminal careers and go straight, but they are also aware that their new boss Mr. “Case” Casey (played by Robert Patterson) has tendency to murder any of his employees that try to leave his organisation. An opportunity comes during the raid on Chinese Triad gang which turns chaotic and allows Brian and Charlie to snatch large amount of drug money that could allow them to start new life in Brazil. However, they are pursued by Case, Triads and police and forced to take temporary shelter in Catholic nunnery. When they realise that they would have to stay there a little longer, they take nuns’ clothes and assume identities of visiting nuns, Sister Euphemia and Inviolata. Other nuns, led by Sister Superior (played by Janet Suzman) at first don’t know that they have men within convent, but their deception will be complicated when Brian’s girlfriend Faith (played by Camille Coduri), comes there to look for him.
Nuns on the Run was produced by Handmade Films, British studio founded in order to make controversial comedy Life of Brian and later known for making some of the best British films of 1980s. Although the presence of Monthy Python’s alumni Eric Idle as one of the stars (and whose character is named Brian) and nunnery setting suggest another irreverent satire on religion, the basic concept is actually borrowed from Billy Wilder’s classic comedy Some Like It Hot. The film was feature debut for Jonathan Lynn, writer and director known for his work on television, including popular political satire Yes Minister. He envisioned this film as combination of Wilder’s plot and the spirit of 1950s Ealing comedies. His plot is, however, generic. Religious issues, as well as those specific for Catholic Church (like celibacy) are only briefly mentioned and the humour is much broader, like the scene in which Charlie as nun ogles nubile young women in showers. Farcical plot doesn’t allow much of the characters to be developed. However, Lynn provides solid direction and keeps film within hour and half. What makes this film ultimately watchable is the cast that makes two main characters likeable. Idle is convincing as someone that can attract the feelings of waitress. Just like Robbie Coltrane as his more worldly friend who, being raised Catholic, teaches Brian just enough doctrine to help him pass as a nun. This role proved quite beneficial for Coltrane, who would in 1990s have many successes both in film and television. Nuns on the Run was greeted with mixed critics and, despite solid box office, turned out to be the last production of Handmade Films in its original incarnation. It was the last British feature film in career of Jonathan Lynn who would continue his career in Hollywood with more success.
RATING: 5/10 (++)
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