The Wind
In the novel upon which the film was based, author Rumer Godden uses the power of prose to ascribe a psychological effect upon the nuns that results from the atmosphere of atop the mountain. The film manifests this abstraction through more concrete symbolism. One of those symbols is the wind that is constantly blowing. Wind carries multiple symbolic connotations, ranging from a foreboding of bad things to come to its ability to wipe away top layers to expose what had been hidden beneath. Both of these meanings are applicable.
Sister Philippa’s Garden
Another symbolic expression of the significance of the “atmosphere” upon the psychology of the nuns is Sister Phillippa’s garden where she is charged with growing vegetables as a food supply. As she stares off into the mountains looming in the distance, the wind blows and before long the vegetables which Sister Clodagh was relying upon turn out to be flowers. This is the first indication that the location is wielding influence capable of threatening the self-control and authority over the Sisters.
The Palace Decor
Also contributing to symbolism of an atmosphere of untamed natural instincts that is pervasively moving the Sisters closer to an eruption of repressed emotions are the paintings on the wall of the palace which they now inhabit. Turns out that this was more than simply a royal home; it was the site of a royal harem and the artwork which adorns the wall is never lingered, upon always present almost as a subliminal reminder that the Sisters represent a conscious rejection of sexuality that nature mandates can never be fully conquered.
Ruth’s Compact Mirror
Once Ruth has given into her sexuality and the repressed desires crumbles, she changes into a red dress and is confronted by Sister Clodagh. The juxtaposition between the red dress and white nun’s outfits highlights the difference that stands between them now, but Ruth raises the stakes to another level when she quite purposely opens her compact in front of Clodagh as if she were drawing a gun. The side facing Clodagh is red, while Ruth looks into the mirror with the suggestive symbolism that Ruth, freed from the clutches of repression can look at herself and accept the truth, while Clodagh remains unable to do the same.
Sister Ruth's Lipstick
The final touch in the transformation of Ruth from repressed nun to unleashed woman is the application of lipstick. Red lipstick. Not just red, but a deep, garish, carnal red which, once applied, almost make her mouth cry out to be kissed. That this is the final touch in Ruth’s turning her back on repressing her sexuality and deciding instead to flaunt it and follow it wherever it may lead is made implicitly concrete by the only possible answer to the central question that remains unasked in the scene: has Sister Ruth been in possession of lipstick—in that shade—the whole time?
