Product: The Messenger: The Story of Joan of Arc (Region 2) (1999)
Rating: 2.0
A Conflagration
Having been somewhat fascinated by the life of Joan of Arc, and entertained by the French flair of Director Luc Besson's movies, it pains me to say that my disappointment in THE MESSENGER is most profound. Truly, with such a promising opening scene and more than a couple of excellent actors at its disposal - not to mention a mythical and supernatural aura intertwined with an amazing history - one would expect, even at the very least, a little glimmer of brilliance.Yet, apparently, it never was meant to be. However, I must say, the movie opens promisingly enough: There's the pious child, Joan d'Arc, living her bright yet humble life in the 15th century French countryside. - She is portrayed at once as being extraordinarily blessed and preternaturally enlightened, by Heaven. There's Music of Angels singing ecstatic praise, Visions of Divine Power moving nature around her, and Voices of "Him." (Be it Deity, Angel, Archangel, or perhaps her own Subconscious Soul? I cannot tell...) - All so enticing and gravitating her toward Heavenly bliss.Yet it is within minutes of these glorious opening scenes that everything takes a very dark turn. Suddenly, the child Joan sees the storm clouds culminate as the wolves and the English Army thunder in. The sight of this is quite ominous -- not only for the child Joan, but for the entire course of the movie as well. It's a shame - because, from here, THE MESSENGER actually could very well have become a movie of remarkable depth, voice and vision.Instead, the whole thing engulfs itself in blustering failures - its own annihilation ignited with the first sight of Milla Jovovich as Joan, the peasant girl, suddenly all grown up. She makes her first appearance having somehow made her way to the castle of Chinon with a message to the Dauphin Charles VII, France's heir to the crown. The movie offers no explanation as to how this unknown teenage girl had come to be known as the "Maid of Lorraine," nor of how she had made her way into the French Court.Apart from various transitional errors and a stunning lack of continuity, this picture further bears the awesome burden of poor casting and an even poorer script. John Malkovich (Dauphin Charles VII) did a fine enough job of it - however, the script, relative to the role, was not compatible with his talents - and he was very blatantly miscast. As for Milla Jovovich: Well, I cannot say much about that folly, actually, without blasting away all credibility to her as an actress. Truly, that's something I really do not wish to do. Really, I must say in her defense that it seems she was obliged to make do with a script that made her sound like a borderline psychotic and rebellious adolescent somewhat of the present-day variety. It's impossible to buy the possibility that anyone in the French Army would even consider following her lead.Sadly enough, the only reason I halfway speak in her defense is that she seemed to speak her lines as if she hated every single word of them - and her every look seemed to disdain the movie. OK - Well, regardless, even for that, I guess I cannot in my heart of hearts give her any credit as an actress.Finally, I must give no insignificant amount of credit to Dustin Hoffman (the Voice), Faye Dunaway (Mother-In-Law to the Dauphin, Princess d'Aragon), and Timothy West (Pierre Cauchon - a prominent figure in Joan's final trial) for making the most of a flippant and shallow script.Finally, all the more I can say about this movie is that it could have been great, with only a bit more insight. It's a shame that it fell the other way....