La passion de Jeanne d'Arc
Tags: insanity, historical, sentimental

Plot synopsis:
After having led numerous military battles against the English during the Hundred Years' War, Joan of Arc is captured near Compiegne and eventually brought to Rouen, Normandy to stand trial for heresy by French clergymen loyal to the English.
On 30 May 1431 Joan is interrogated by the French clerical court. Her judges try to make her say something that will discredit her claim or shake her belief that she has been given a mission by God to drive the English from France, but she remains steadfast. One or two of them, believing that she is indeed a saint, support her. The authorities then resort to deception. A priest reads a false letter to the illiterate prisoner supposedly from King Charles VII of France, telling her to trust in the bearer. When that too fails, Joan is taken to view the torture chamber, but the sight, though it causes her to faint, does not intimidate her.
When she is threatened with burning at the stake, she finally breaks and allows a priest to guide her hand in signing a confession. However, the judge then condemns her to life imprisonment.
As the jailer shaves her head, she realises she has been unfaithful to God. She demands that the judges return and she recants her confession.
As more and more around her begin to recognise her true faith and calling she is permitted a final communion mass. She is then dressed in sack-cloth and taken to the place of execution. She helps the executioner tie her bonds. The crowds gather and the fire is lit. As the flames rise the women weep and a man cries out "you have burned a saint". The troops prepare for a riot. As the flames consume Joan the troops and crowd clash and people are killed. Joan is consumed by the flames but they protect her soul as it rises to heaven.

Review: Carl Th. Dreyer's The Passion of Joan of Arc was made, perhaps, years ahead of its time- my guess would be that if it wasn't burned after its initial release, it would've had as stunning an impact on the film world years down the line as Citizen Kane did.
Though the use of close-ups and distorted angles were not completely new in this film, it felt like Dreyer was creating a new kind of cinema, one where reality, however cold and pitiful, was displayed with complete sincerity.
There is also the editing (by Dreyer and Marguerite Beague), which has the timing that many directors/editors of the modern day could only hope to achieve (it has the influence of Eisenstein, only in a totally different historical context), and those moves with the camera by Rudolph Mate (who would go on to photograph Foreign Correspondent and Lady from Shanghai) that are precious- to call his work on the film extraordinary is an understatement.And it was crucial for Dreyer to use the close-ups and tilted angles and shots where you only see the eyes in the bottom of the frame, and so forth- he's developing the perfect atmosphere in regards to a trial set in 15th century France.
Pretty soon a viewer feels these presences from all these people, so strong and uncompromising, and Dreyer does a miraculous thing- he makes it so that we forget about the time and place, and all of our attention is thrown onto those eyes of Joan, loaded to brim with a sorrow for where she is, but an un-questionable faith in what she feels about God. I wondered at one point whether Dreyer was making as much a point on people's faiths and prejudices in the almighty, or just one on basic humanity.There have been many before me who have praised Falconetti's performance to the heavens (Kael called it the finest performance in film), but in a way it almost can't be praised enough.
One of the last great silent films made during the advent of sound, Carl-Theodor Dreyer's The Passion of Joan of Arc is a haunting, riveting portrait of the historical martyr based on documentation from the original trial.
The way it is filmed with mostly head shots and faces you would think it would be boring.But it is the most alive movie I have ever seen and probably ever made.You cannot take your eyes off of Joan.
The mesmerizing performance of Maria (Renée) Falconetti, filmed primarily as a series of brutalizing close-ups, is still the main reason to revisit Carl Theodor Dreyer's austere and claustrophobic 1928 silent film classic about the trial and execution of Joan of Arc. There is little provided in the way of background or context, as Dreyer made an intentional decision to use the original trial records as the basis of his dialogue.
Dreyer's meticulously crafted aesthetics (the film is almost entirely composed of close-ups of the actors' faces) are perfectly married to the gut wrenching performance of Maria Falconetti (a theater star who never acted in another film) in the lead role.
I think Dreyer was most accurate in describing her performance as nothing short of "the martyr's reincarnation." One need not be religious to understand what is meant or to feel for Joan as portrayed so humanely and exquisitely by Falconetti.
And in relating to her, one thing is for sure: the mysticism of film was realized by the Dane Carl Dreyer and Maria Falconetti in the year 1928 with "The Passion of Joan of Arc.".
It's Falconetti's face,somehow Dreyer managed to capture on film what seems impossible,such raw human emotion,a soul if you will,and the viewer is left drained at what they had just seen.
I recommend the 24 frames a second with the 'Voices of Light' score,and watch it on the biggest screen you can find,because this is a life changing experience,transcendent even.Falconetti gives the greatest performance I've ever seen on film,and the director uses closeups for much of the movie,it's confrontational and brilliant,there is nowhere to look but at Joan,what she is going through,it's powerful stuff,your life will be elevated by just watching it..
It is often said that Maria Falconetti gave the greatest performance in the history of film acting in this movie.
Although Dreyer succeeds in creating an extremely credible depiction of the trial and tribulation of Joan of Arc, he knew the filmic medium was not, and never could be, knowledge, fact or reality, and so he presents experience, truth and authenticity.The film can be argued to be entirely shot from the mind's-eye view of Joan in relation to her locality to give the impression that we, as Roger Ebert said, are not watching a film but in fact watching "fragments from Joan's own experience".
Furthermore, the weird and bizarre set designs from Hermann Warm, famous for his expressionist sets for The Cabinet of Dr. Caligari, only add to the disillusioning and disturbing overall effect for the viewer.The themes of this film are also present in many of Dreyer's other works, namely his fascination with the incompatibility of institutionalised religion and individual faith, the physical dominance of the male over the female (somewhat dated now), and the power of the human soul over earthly ambitions and corruption.
There is humanity and a desire to create sympathy, and not indifference, towards all his characters in his films.The Passion of Joan of Arc is an aesthetically austere yet serenely beautiful, psychologically uncompromising yet spiritually moving piece of work.
Watching Carl Theodor Dreyer's silent film masterpiece, "The Passion of Joan of Arc", is one of the most powerful cinematic experiences you will ever have.
But even if you had no idea who Joan was, watching this account of her would still move you, and you would still come away amazed at her great inner strength - the film is that effective.If you appreciate dramatic cinema, whether you usually like silents or not, make sure to see this masterpiece when you can..
"The Passion of Joan of Arc" (1928) by Carl Theodor Dreyer is simply one of the greatest films ever - silent or no silent and what considered by many critics, the greatest performance by any actress on the screen.
Filmed mostly in close-up, the agonized face of Falconetti's Jean, free of all cosmetic artifice, appears more moving and human, and expresses so many emotions that it literally stays in a viewer's soul.A German designer Herman Warm ("The Cabinet of Dr. Caligari" and "The Tree Lights") constructed the austere sets for the film; the photography of Rudolph Mater also contributed to the films universal power.
The extreme close-ups of the faces in the courtroom, the cutting during the torture scene are just two of my personal favorite things about this movie Falconetti's portrait of the french heroine was some of the most wonderful acting in a silent film I've ever seen.
While this could actually be true (after all, she was seeing things and having conversations with dead folks), I doubt if Dreyer wanted his audience to think Joan of Arc was nuts--as she so often appeared in the film.
In "The Passion of Joan of Arc," Carl Theodor Dreyer elects to tell the story of Joan's trial not through action or dialogue (or title cards, as this a silent film), but through faces.
It also gives off the vibe of mystique and wisdom well beyond her years, a girl ground in her conviction, always cornered by dark forces in the room, yet remains a light.It is rather confusing with no back-story,as not everyone grantedly knows the story of Joan of Arc. But like any passion play, the purpose is not so much the circumstances to the setting, but the actions and reactions of the people in the moment.I found the film very ahead of its time in many aspects.
Watching The Passion of Joan of Arc without any musical score to accompany its drama really makes you see the true potential of images like never before, and the emotional impact it can have on the audience when done right.
Widely considered as a cinematic landmark, this French silent classic still retains a mystical power.Set in 15th century France during the Hundred Years' War, the story of The Passion of Joan of Arc chronicles the trial of Jeanne d'Arc following her arrest.
Charged with heresy, she is interrogated by French clergymen loyal to the English who attempt to force her to recant her claims of holy visions, and ultimately execute her when she refuses.Written & directed by Carl Theodor Dreyer, the film employs a number of filmmaking techniques that were unconventional for its time and the script itself is adapted from the original transcripts of Joan's infamous trial.
Editing provides a steady pace to its set of events though there are times when the scenes feel somewhat repetitive.Coming to the performances, The Passion of Joan of Arc is Maria Falconetti's show all the way.
Dreyer said the whole picture was made under old manuscript that was found in France, so Dreyer makes a detailed planning over it, even the sets were builded over some pictures as states in this files, Dryer also used a white color to suggest a Joan's pureness, l had many movies from Joan of Arc, this apart to be a silent movie was stunningly made by the old master, a remarkable performance of Maria Falconetti was another highlight, a timeless movie suitable for both kind of people as study process for believers and materialist, a true gem to mankind!!!Resume:First watch: 2018 / How many: 1 / Source: DVD / Rating: 9.25.
But it takes long before she finally gives up and I believe director Dryer has stretched the story a little too much.It was a wonderful experience to watch a silent film in a church, accompanied by organ music and a choir.
The sublime orchestration of music and images overwhelmed me with its poignancy; it was like music for all of the senses, always keeping everything at a high plane of emotion, accentuating the transcendent feeling I had throughout.Falconetti as Joan, as I've heard many times before, is the best performance ever captured on film, hands down.
Carl Theodor Dreyer's The Passion of Joan of Arc is a seminal landmark for artistic stylization in French film.
This is achieved with the uncompromising use of close-ups, low angle shots, quick cuts and the strong influence of the art movements of the early 20th century.The trial and execution of Joan of Arc is condensed into a single afternoon.
It shows the prejudice of the religious community both in times long gone and now, and for the twenties, it's quite well filmed.The cinematography is impressive in some areas, but the initial scenes are weak beyond description, the extreme and over-used close-ups becoming tiring and Dreyer's distaste for make-up results in some very unwanted glare from certain actors' faces.But the thing that harmed this potentially perfect film the most is the fact that it lacks sound, had Dreyer waited a few years or attempted to get more or done anything to acquire sound mixing equipment, this film would have been better, the intertitles give the most obvious of the film's dialog and the minor chatter and several important scenes leave to read lips, this kept Passion de Jeanne d'Arc from being the religious epic to end all religious epics..
After some cleaning up and polish was added, the film was restored into an eighty-one minute cut, which is said to be very close to the original film's length and structure.Dreyer's focus in The Passion of Joan of Arc was precisely what the title suggests; an intimate and often harrowing portrayal of the agony the French heroine (played ever-so tenderly by Renée Jeanne Falconetti) endured following her unfair trial after the Hundred Years' War. Dreyer sees no point or purpose in showcasing sweeping battle sequences nor does he see it fit to detail Joan of Arc's story in a series of "greatest hits" moments that ultimately ends in a corrupt sentencing.
As she takes a stand for her faith and her beliefs of her own personal sainthood and relationship with God, she is bludgeoned and abused by an all-male jury and various authorities before being sentenced to death by being consumed by fire.The Passion of Joan of Arc can be viewed in two basic forms; in its original form, with no dialog, or a modified, Criterion Collection version that adds accompanying orchestration from Richard Einhorn called "Voices of Light" (which was my audio-track companion) throughout the film.
At the time of its release, The Passion of Joan of Arc erected one of the most expensive and immaculately detailed film sets in the history of cinema, with its construction of the famous Rouen Castle taking most of Dreyer's seven million franc budget on the film.
The same is true of much of George Bernard Shaw's play, "Saint Joan." There is no question that the film would be powerful even to anyone who had never heard of Joan of Arc. It is impressive in every way-- the structure, the camera-work, the acting, even the fact that make-up wasn't used, which heightens the brutal reality of her story.
Some silent films can be hard to watch, however like Murnau's masterpiece Sunrise (1927), these detailed human displays of feeling and suffering transcend any message that could possibly be spoken or written, and reveal endless levels of character interpretation.Although this film goes into a lot of detail on Joan's devotion to Christianity, I don't think that it would take away from the experience for someone without strong beliefs.
It however of course works well for a more deep, serious and realistic approach and or course also in an original way of retelling the story of Jeanne d'Arc. So don't expect to see a strong heroic female lead but a betrayed, broken, emotional one instead.On top of that, it's a very artistic shot movie, which helps to at all times keep the movie interesting and great to watch.I'd say that about 70% of the entire movie consist out of close-ups.
She objects strenuously to everything they say because faith leads people to do things they never would have imagined themselves capable of, but her passionate words flow away like feeble whispers in a windy day, while her enchanting eyes scan an invisible sky, looking for something beyond her human strength, beyond every possibilities of the common mortals, maybe a divine sign from above, even if there's no question about her unshakable devotion to God, because "God knows where He bring us", she thinks, "but we are able to know the road to Him only when we reach the end of it." Every sequences are included in the above described oppressive scenario whose hypnotic suggestion expressionist style reminds us of the universal sense of pain ready to penetrate deeply into the substrate of our Christian and human consciences, in the inmost recesses of the soul, sharing our hidden emotions awakened by the vision of a defenseless face appealing for mercy in vain, without never losing her dignity.Joan, of Arc, splendidly played by Renée Falconetti in this "PASSION", might be considered the symbol of the eternal suffering of human beings, adorned with an aureole of beauty and holiness, set on a supreme pedestal, higher and higher than every other female characters of the history of cinema, namely the ideal heroin per antonomasia especially thanks to the heart-rending final purification, moving and endless journey around the deep black of human soul, around the meanders of a faith itinerary stranded for ages on the sand-banks of a devastating fanatic pragmatism.
The Passion of Joan of Arc is a French silent film based on the true story of the real woman by the same name who claims experiences of visions from God which angers the church.
Her face and eyes are so expressive and emotional that they speak louder than any dialogue ever could, and with the film's cinematography focusing on extreme close-ups of the characters' faces, it emphasises the power that Falconetti could harness through such acting.
It all contributes wonderfully to Dreyer's vision of the trial of Joan of Arc, but the highlight for me, along with many other viewers, is certainly Falconetti's performance.
It's honestly heartbreaking when the inevitably tragic ending is portrayed as for the brief time we, as viewers, have been watching the film, it certainly feels like we have got to know who both Jeanne d'Arc and Falconetti are and that she has opened herself up to the world - her performance is one of the most genuine performances I've ever had the pleasure of viewing.I definitely recommend this film, whether you're curious about acting, cinematography or silent cinema, this should definitely be essential viewing..
That gives Joan of Arc a tremendous power in her very unimpressionable lack of movement, frozen reactions, emotional restraint and yet constant suffering shown by the many tears she sheds.The camera of the time is better for close-up shots on one character, one face, one action or movement and Dreyer uses that camera to the utmost.
Roger Ebert once said that "to see Falconetti in Dreyer's "The Passion of Joan of Arc" is to look into eyes that will never leave you." I cannot find a better statement for this miracle of a silent masterpiece.
We cannot look away from the faces, especially that of Joan's astonishingly beautiful eyes.What stands out in this film is the central performance of Maria Falconetti as Joan of Arc. When she enters the picture, she does not look like a common heroine.
One of the single greatest performances in film history came from Carl Dreyer's amazingly powerful THE PASSION OF JOAN OF ARC.
It is amazing that the director dared to film much of the the entire first-half in close-ups of Falconetti's face as she stands trial.
Falconetti plays Joan of Arc, and she gives an emotionally earth shattering performance, leaving anyone who watches this film absolutely memorized.