There are some films that become so consolidated in the global culture, regardless of how much time passes, they remain fresh and invigorating, with seemingly very little being possible when it becomes to tarnishing their legacy. Despite having been released over thirty years ago, Sister Act has sustained its reputation as one of the most beloved comedies of the 1990s, a film that is as appreciated and adored today as it was in 1992, which is immediately the sign of a truly great piece of art, and one that has managed to stay relevant despite the passing of time, which is usually quite brutal to a lot of formerly cherished comedies. The collision of a screenplay by Paul Rudnick, who was a master of the mid-level 1990s comedy that usually tended to do exceptionally well both commercially and critically, the masterful direction by the sorely missed Emile Ardolino, and the incredible consistency of a tremendous cast led by one of the biggest stars in recent history are all fundamental reasons why Sister Act has not aged a day since its release, and much like several of these iconic comedies that have withstood the test of time, it not only invites multiple revisits but actively rewards those who decide to venture into this world on more than one occasion, since there is always something new to discover with such a tremendously captivating film. Irreverent isn’t even the right word to use for such a film, since it is an off-the-wall work of outrageous comedy that makes sure to balance offbeat comedy with a genuine sense of pathos, two incredibly important components that work together in tandem to create this hilarious and heartwarming comedy that has remained one of the most exquisite examples of a solid, reliable comedy that does everything it was supposed to do, leaving very little time to waste, and being a pertinent example of all the right ways to make a strong film that gives the audience everything we anticipate, while still ensuring that a few surprises are waiting for us along the way.

Along with The Birdcage and a few other films, Sister Act is a comedy in which I discover something new every time I watch it, and this recent viewing not only reaffirms that it is as funny and charming as ever, but there is an energy to it that simply cannot ever be replicated again. There’s a sharpness to the writing that we can chalk up to the fact that the screenplay changed hands many times during the production process, with a number of writers being brought on to help develop the script, some of them prominent names – and while this did lead to some tension with Rudnick as the original writer, it only proves that some films do need additional work to fully flourish into masterpieces, which may be a bold proclamation to make for something seemingly as simple as this film, but it’s one that has been proven to be true on more than one occasion. The premise is remarkably simple, with the entire concept of a nightclub singer being put in a witness protection programme in a humble convent after she witnesses a violent crime being fertile ground for a hilarious comedy, especially since Hollywood has a long history with using nuns as their comedic foil, going back many years to the time when films like Come to the Stable and Where Angels Go, Trouble Follows (which also starred one of this film’s actors) drew audiences in with the promise of gentle, reliably humour that is charming but never condescending. The pious humility of people who dedicate their lives to charity and service being sharply contrasted with someone whose entire raison d’etre has to do with her love of the finer side of life proves to be a terrific approach to this material, and it proves to be an unexpectedly moving film that knows exactly how to handle a lot of its more challenging ideas in a subversive way without being mean-spirited or mocking, navigating a very narrow boundary between the two. It’s this quality in particular that draws us into the film and makes it such a tremendously resonant piece of cinema, even if it isn’t anything particularly serious.

It has been well-documented that Sister Act was originally written to be a vehicle for Bette Midler, and while she and Whoopi Goldberg are comparable in being grand dames of the entertainment industry who have proven their aptitude at a wide range of genres, all the while taking on these larger-than-life personas in a lot of their roles, it is difficult to imagine anyone bringing the same level of dedication to this role as Goldberg, who simply proves her mettle as one of the greatest movie stars of her generation with this performance. In a lengthy career that has lasted decades, this may just be her signature role, at least in terms of being the accumulation of every one of her talents, which are compressed into this dynamic, eccentric portrayal of a woman trying to survive by any means necessary. Goldberg’s gifts have always been that she makes everything look effortless, and she weaves her way through this film with such fluidity and immense skillfulness, that it’s difficult to not be entirely entranced. However, Sister Act may be anchored by Goldberg, but it is the supporting cast that shades in various nuances, proving to be an ensemble effort alongside being a starring vehicle for the lead. Dame Maggie Smith is wonderful as the pernickety Mother Superior, while Kathy Najimy (in her breakthrough performance) and the ever-reliable Mary Wickes are both absolute riots as the well-meaning choir nuns who find themselves growing very fond of the new addition to their team. Every scene in this film is populated by great performances, with even those actors with only a couple of lines having their moment, which showcases not only exceptional writing that doesn’t let a single character go to waste but also the direction, which acknowledges the full ensemble and allows them all to play a major part in bringing this delightful story to life.

There are plenty of reasons that we can attribute to the enormous success of Sister Act, and a lot of it has to do with the writing, which is as pitch-perfect as it could be given the challenges that surrounded bringing the concept to the screen. However, a smart screenplay can only be the foundation of a good film to a certain point before other elements need to start making their appearance, and from the very first frame of this film, the direction proves to be exceptional, enough to sustain our attention through every beat of this film. This is a credit to Ardolino, a director whose name is only slightly unfamiliar because of the shortness of his career, which lasted less than a decade before his tragic passing. Had he not died, there would be very little doubt that he would have flourished into one of the most fascinating filmmakers of his generation, someone capable of delivering solid, reliable films that take simple concepts and turn them into incredible works that are as entertaining as they are thoughtful, and simply having films like Dirty Dancing and Sister Act on his roster was sufficient to show his gift for this kind of populist entertainment. This film simply just moves at a speed that is impossible to comprehend – it runs a lean 100 minutes, and from the first frame to the last, it struts with confidence and vigour, never stopping for a single moment, which makes it a film that flies past with a fervour that is impossible to replicate. It helps that there is an earnestness to the entire production that is difficult to mimic, and instead has to become thorough in an authentic manner, which blends with the rapid-first pace to make this a film that simply gets to where it needs to go without wasting a single moment of our time. Tonally, Sister Act is perfect, striking the right notes between hilarious and heartfelt, every emotion being genuine and feeling like comes from a place of honesty. We did lose a great director with Ardolino, whose body of work may be small, but was enough to show that he had an abundance of promise, this film in particular being his crowning achievement.

As every one of us knows, cinema opens many doors for us, and we tend to grow with every new film that we see – but yet there’s nothing quite like going back to one of those timeless classics that form the foundation of our love for the medium, and while it may not be the most perfect film or one that is all that revolutionary in scope or procedure, Sister Act is a firm reminder of just how comforting a strong film can be, and any film that can cause the viewer to lose count if the number of times they have seen it over the years is something special. Whether watching it for the first time or the hundredth, there’s a sense of genuine delight that emerges when this film is put on, which is a credit to its timeless brilliance and its ability to be bombastic and over-the-top without being insufferable, navigating a very narrow tonal and narrative tightrope that could have ended in disaster without an assured hand at the helm. It’s simply a wonderfully eccentric film that places as much emphasis on the heart as it does the humour, the two intermingling to create this delightfully off-the-wall comedy that knows how to have a good time, but also to pay attention to the smaller emotions. It’s a very simple film, and there was very little chance this premise would result in anything that wasn’t entertaining, but this hasn’t stopped countless viewers from finding value in the film, which is as fresh and compelling today as it was over thirty years ago, an achievement that can never be underestimated in the least, and which had led Sister Act to become the very definition of a timeless classic in a genre that transcends geographical and generational boundaries through the simple virtue of telling a strong story with heart and soul, and a lot of hilarity alongside it.