generosity of spirit. There is a sense of respect for the characters without regard to their points of view. Even though the film was made in such a way that the viewer has to accept Bernadette's version of the truth, as we see what she sees, the other characters are allowed to express themselves, whether they believe or not, without being made to appear foolish. The only exception is near the end when the Mayor of Lourdes tries to ingratiate himself on Bernadette prior to her leaving to live in a convent, claiming that he was the only one to believe her visions. Even Vincent Price, chief among those who wants to dispute any claims attributed to Bernadette, many pointedly not claimed by her, may possibly have achange of heart and mind at the end of the film, It is a change brought about by self-realization that with nothing left to gain or lose in the process, Price has to find out for himself if the spring water will bring about a cure for his physical and spiritual maladies.

When I talked to Henry King in Telluride, he had mentioned that he had converted, and became a Catholic at around the time he made The White Sister. I mention this because King's own faith served as a catalyst in making The Song of Bernadette, and also because one of the most poignant scenes recalls The White Sister. In the silent film, Lillian Gish has already taken her vows to be a nun, and refuses to return