in the role of the unstable Sister Ruth. Pressburger described Byron as having a "dreamy voice and great eyes like a lynx", which he felt appropriate for the mentally disturbed character. In the role of the leading Sister Superior, Sister Clodagh, Deborah Kerr was cast. Pressburger chose Kerr for the role despite the reservations of Powell, who felt she was too young for the part. At one point, Powell considered Greta Garbo for the part. Kerr was paid £16,000 for fifty-five days of work. David Farrar was cast as Mr Dean, the virile British agent who becomes the object of Sister Ruth's obsession. Farrar was paid £4,500 for forty-five days of shooting. Flora Robson appears as Sister Philippa, a gardener in the convent. Of the three principal Indian roles, only the Young General was played by an ethnic Indian, Sabu; the roles of Kanchi, played by Jean Simmons, and the Old General were performed by white actors in make-up. Kanchi, 17, is described by Godden as "a basket of fruit, piled high and luscious and ready to eat. Though she looks shyly down, there is something steady and unabashed about her; the fruit is there to be eaten, she does not mean it to rot." Godden approved of Simmons's casting, remarking that she "perfectly fulfilled my description". The Indian extras were cast from workers at the docks in Rotherhithe. Filming Filming of Black Narcissus began on 16 May 1946, and was completed on 22 August. The film was shot primarily at Pinewood Studios but some scenes were shot in Leonardslee Gardens, West Sussex, the home of an Indian army retiree which had appropriate trees and plants for the Indian setting. While Powell at the time had been known for his love of location shooting, with Black Narcissus he became fascinated with the idea of filming as much in-studio as possible. The film is known for making extensive use of matte paintings and large-scale landscape paintings (credited to W. Percy Day) to suggest the mountainous environment of the Himalayas, as well as some scale models for motion shots of the convent. Powell said later: "Our mountains were painted on glass. We decided to do the whole thing in the studio and that's the way we managed to maintain colour control to the very end. Sometimes in a film its theme or its colour are more important than the plot." For the