Procès de Jeanne d'Arc (Trial of Joan of Arc) (1962)
Procès de Jeanne d'Arc (Trial of Joan of Arc) Photos
as Jean Beaupere
as Jean Lemaitre Inquisitor
as Jean de Chatillon
as Joan of Arc
as Bishop of Winchester
as English Priest
as Nicolas de Houppeville
as Frere Martin Ladvenu
as Bishop Cauchon
as Frere Isambart de la Pierre
Critic Reviews for Procès de Jeanne d'Arc (Trial of Joan of Arc)
Bresson's treatment of the Trial of Joan is characteristically ascetic; but it is also quintessential history, unique and timeless, graced with a master's touch.
Using non-actors, there are no false dramatics. This unveils another side of the oft-filmed tale, and the state and church politics of that century.
A new way to access and appreciate history's most remarkable adolescent visionary.
The tension generated by juxtaposing such humiliation with the serenely beautiful text (from the transcription of the trial) resolves itself in the unforgettable final image.
Audience Reviews for Procès de Jeanne d'Arc (Trial of Joan of Arc)
I didn't know a word about this case before plunging onto this movie. As against my expectations, my ignorance didn't turn out to be in the favor of movie. It assumes that we have the background knowledge and focuses only on trial. Maybe people in general have enough historical knowledge, but unfortunately I'm an exceptional case. I thought that the movie would be interesting as it's based on the transcripts of the case, but except for a few dialogues, it was quiet boring. Even 65 minutes seemed too long to sit through. I appreciate the director's intentions, but not much the film. Needless to say, it serves as an informative piece of work to an extent, but not entertainment.
This Robert Bresson film is reportedly taken from the transcripts from the Joan of Arc's trial. And it's a well-done film that suffers from one major flaw -- I saw Karl Dreyer's version of Joan's story PASSION OF JOAN OF ARC first. Florence Carrez portrays Joan with stoic determination. She knows she's right and no one will change her mind. Because of this portrayal, the scene where Joan signs the confession riings a bit false. On the other hand, Renee Maria Falconetti's portrayal is of a terrified 19-year-old girl, being held in prison for her beliefs that seem so right and true to her, and totally unable to comprehend how and why she is being portrayed as evil, when everything she does is for God and her country. Her performance is heartbreaking. Carrez' in-your-face attitude is probably more historically accurate -- Joan WAS a warrior after all -- but I like Falconetti better. And I just like Dreyer better as a director than Bresson. Bresson's direction is spare and minimalist, and it leaves me a bit cold. Dreyer's work never fails to move me, especially in the way he gets such real emotion out of his actors. I'll admit to being brought to tears by more than one of his films. Bresson claims that he made his Joan more of a modern 1960's woman so younger people would identify with her, He gave her a somewhat modern hairstyle and wardrobe. Once again, I prefer Dreyer's Joan, who was even stripped of her hair for the role. One good thing about seeing both films is that I now have a bigger picture of what Joan went through during her trial. Dreyer also used the original transcripts, and the dialogue reflects that, matching word for word in several places. But in many cases they concentrated on different sections of the transcriptions, so seeing Bresson's film filled in the gaps from the Dreyer film.
Bresson's stripped-down style is in full effect here, complete with his famous close-ups of feet and attention to manual processes. The obvious comparison to make is The Passion of Joan of Arc. Dreyer's film has an undeniable beauty to it, but as a fan of Bresson's austerity, I have to give his version the edge. I greatly prefer Delay's performance to Falconetti's. Delay brings a dignity and a genuine piety to the role, where Falconetti just makes her seem like an unstable nutball.
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