The Passion of Joan of Arc (La Passion de Jeanne d'Arc) (1928)
The Passion of Joan of Arc (La Passion de Jeanne d'Arc) Photos
as Joan of Arc
as Bishop Pierre Couchon
as Jean Massieu
as Jean Beaupère
as Nicholas Loyseleur
as Jean d'Estivet
as Jean Lemaitre
as Guillaume Evrard
News & Interviews for The Passion of Joan of Arc (La Passion de Jeanne d'Arc)
Critic Reviews for The Passion of Joan of Arc (La Passion de Jeanne d'Arc)
Here is a deadly tiresome picture that merely makes an attempt to narrate without sound or dialog an allegedly written recorded trial in the 15th or 16th century of Joan of Arc for witchery, leading to her condemnation and burning at the stake.
Dreyer's radical approach to constructing space and the slow intensity of his mobile style make this "difficult" in the sense that, like all the greatest films, it reinvents the world from the ground up.
Dreyer's most universally acclaimed masterpiece remains one of the most staggeringly intense films ever made.
It is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement.
Few films have earned classic status more than Carl Dreyer's 1928 silent study of the 15th-Century teenager who helped lead French troops against the British only to be tried as a heretic.
Audience Reviews for The Passion of Joan of Arc (La Passion de Jeanne d'Arc)
Very simple and minimalistic, yet very compelling and harrowing. What I found intriguing - and a bit bizarre, knowing how meticulous Dreyer could be - was that single shot where one of the priests was clearly seen wearing 20th century glasses. Why would he have left it in? Was it a reference to someone?
With breathtaking visuals and a potent story, it's hard to believe this was released in 1928.
Four stars for the film, an extra half of a star for how utterly brilliant Falconetti is. Whether it was Dreyer's idea to make her kneel upon stone or her own prowess in acting that allowed her to give such a painfully passionate and nuanced performance, it is simply breathtaking. As for the film itself, it really never lets you go. Without any establishing shots, the viewer is plunged face first into the drama. From the accusers to the accused, there is a real sense of vehemence that all of the actors exude. It is passionate, relentless, and beautiful all at the same time. While I don't think I will revisit this more than one time in a decade, It is none the less an important film and displays the power that actors such as Falconetti can have in a film.
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