Directed By: Carl Theodor Dreyer
Starring: Maria Falconetti, Eugene Silvain, Andre Berley
Trivia: This film was believed lost until a complete print was found in the closet of a mental institution in Oslo, Norway
Very seldom in life do things come together perfectly, and the same can certainly be said of the cinema. The silver screen’s rich history is chock full of good films, many of which I would even categorize as “great”. It's a rare occurrence, however, when a seemingly perfect one comes along, an artistic triumph of moving images that stirs you with its power and imagination. Carl Theodor Dreyer’s 1928 silent masterpiece, The Passion of Joan of Arc, is, in my opinion, a perfect film.
The Passion of Joan of Arc recounts the trial and subsequent execution of its title character, the “Maiden of Orleans”, an event that was spearheaded by the religious and political leaders of France in the 15th century. Striving for historical accuracy, the filmmakers relied heavily on the surviving transcripts of the actual trial of Joan of Arc; Joan (Maria Renee Falconetti) is accused of heresy for her insistence that God speaks to her. During the trial, the young girl faces tough questioning from bishops and priests, who are convinced it's the devil, and not God, speaking to Joan. Yet Joan remains steadfast in her beliefs, and when she refuses to recant her claims of divine communication, she is condemned to death, and burned alive at the stake.
One cannot discuss The Passion of Joan of Arc without delving into the performance of Maria Falconetti; my very assertion that it is a perfect film is due, in large part, to her turn as Joan. Throughout the movie, Dreyer utilizes extreme close-ups when shooting his actors, the majority of which centered on Falconetti. In clear detail, we see the young actress evoke enough pain and suffering in the role to move even the coldest of hearts. As Joan, Falconetti shied away from over-the-top theatrics in favor of a much more subdued interpretation, relying not only on her eyes (which are haunting in their depth of feeling) to convey her character’s anguish, but also her pouting lips, her head tilts, and even the occasional tear running down her cheek. Her Joan of Arc is transformed into something much more than the makings of historical texts and transcripts; in Falconetti’s performance, we get a true sense of this unfortunate girl's torment, and through her talents the film builds to an intensity that is all-encompassing.
My labeling The Passion of Joan of Arc a ‘perfect’ film will undoubtedly raise a few eyebrows, yet I firmly believe it to be the case. With this film, Dreyer transcended standard cinema, rising instead to a level of artistic accomplishment to which few others ascend. Perhaps most amazing of all, The Passion of Joan of Arc not only reached that level, but continues to rest there comfortably...all these years later.
The Passion of Joan of Arc recounts the trial and subsequent execution of its title character, the “Maiden of Orleans”, an event that was spearheaded by the religious and political leaders of France in the 15th century. Striving for historical accuracy, the filmmakers relied heavily on the surviving transcripts of the actual trial of Joan of Arc; Joan (Maria Renee Falconetti) is accused of heresy for her insistence that God speaks to her. During the trial, the young girl faces tough questioning from bishops and priests, who are convinced it's the devil, and not God, speaking to Joan. Yet Joan remains steadfast in her beliefs, and when she refuses to recant her claims of divine communication, she is condemned to death, and burned alive at the stake.
One cannot discuss The Passion of Joan of Arc without delving into the performance of Maria Falconetti; my very assertion that it is a perfect film is due, in large part, to her turn as Joan. Throughout the movie, Dreyer utilizes extreme close-ups when shooting his actors, the majority of which centered on Falconetti. In clear detail, we see the young actress evoke enough pain and suffering in the role to move even the coldest of hearts. As Joan, Falconetti shied away from over-the-top theatrics in favor of a much more subdued interpretation, relying not only on her eyes (which are haunting in their depth of feeling) to convey her character’s anguish, but also her pouting lips, her head tilts, and even the occasional tear running down her cheek. Her Joan of Arc is transformed into something much more than the makings of historical texts and transcripts; in Falconetti’s performance, we get a true sense of this unfortunate girl's torment, and through her talents the film builds to an intensity that is all-encompassing.
My labeling The Passion of Joan of Arc a ‘perfect’ film will undoubtedly raise a few eyebrows, yet I firmly believe it to be the case. With this film, Dreyer transcended standard cinema, rising instead to a level of artistic accomplishment to which few others ascend. Perhaps most amazing of all, The Passion of Joan of Arc not only reached that level, but continues to rest there comfortably...all these years later.