BeSummers Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

Cheryl A clunky actioner with a handful of cool moments.

classicsoncall When the list of IMDb's top films include multiple titles given to animated features and a fair share of movies that are just downright goofy ("Life of Brian", "Groundhog Day"), it's reassuring to find a gem in the mix like "The Passion of Joan of Arc". Originally released as a completely silent film, I opted to watch it with the accompaniment of the 'Voices of Light' soundtrack, which renders the story in a much more spiritual manner.Accused of blasphemy, Jeanne d'Arc (Maria Falconetti) is placed on trial for refusing to recant her assertions that she's had visions of St. Michael, and that she was directed by the voice of God to take charge of her country's army and lead it to victory. In that regard, the picture's principal negative is that it's not placed in historical context, and one does not know the events taking place during the period of time the woman lived. It actually occurred during the latter half of The Hundred Years War (1337-1453) between England and France. Jeanne's involvement in the conflict turned a long standing Anglo-French conflict into something of a religious war, as her importance to the French cause grew over the course of time.One will be struck by the completely one sided nature of Jeanne's trial, one in which every theologian and judge mocked her replies and judged her responses as blasphemous. What's striking is the portrayal Maria Falconetti brings to her character, she is at the same time terrified of her ordeal, but sublime in the way she accepts her fate. It's one of the more impressive performances one would be fortunate enough to see, particularly coming from cinema's silent era. I think it's safe to say that even if one were not religiously inclined, there's an underlying spiritual power and presence that takes hold of the viewer while watching. It's an experience not to be missed.

Foxxpix A number of challenges arise when attempting to produce a film based on historical events. The primary challenge being the decision of whose version of history is to be told. Another of the monumental challenges facing the filmmaker is deciding what resources to use in the design and execution of the film. By the late 1920's, advancements in cinematic equipment and technique were becoming more refined to include many of the basic cinematic innovations that are commonly used today. Careful filtering of different styles over the course of several decades led to these refinements. However, when it comes to methods of creating personal style, there are always those who want to spend time reinventing the wheel or those who decide that they know better than those that came before them. This often leads to artistic revolutions that last a short time before dying out and the art reverts to the basics. This essay will analyze the flaws in The Passion of Joan of Arc in both cinematic composition and narrative construction. Before film, audiences were used to going to plays and seeing the action from one vantage point. As the art of cinematography was developing, filmmakers realized that the action had to stay on the same axis for continuity. This has become known as the 180-degree rule. This is a common rule of axis that allows the audience to orient the characters' relationship to one another regardless of the compositional framing. The Passion of Joan of Arc frequently breaks this rule, which has the effect of disorienting the viewer and giving no firm frame of reference to the geography of the Mise-en-scène nor to the positions of characters. This issue is compounded by the overuse of close ups and washed out background that is bereft of any compositional detail. This was an odd choice considering the overwhelming abundance of magnificent architectural constructs available to those filming in Europe. This film is also hindered in the area of narrative construction. Although the historical figure of Joan of Arc might have been very familiar to European audiences due to her sainthood in 1920, it is no doubt true that some who may view this film might have no firm understanding of the events of the story. The lack of any expositional context is unforgivable even during this early period in cinema. The film opens with the book that supposedly contains the historical transcript of the trial from which the story is based. The text is written in two languages, one of which was swiftly fading from common use by the time of the production of the film. Another flaw in using this document as the basis for a story, which culminates in the burning death of a teenage girl, is the singular perspective of the transcript and the treatment of it as reliable. There exists no counterpoint to this trial therefore no advocacy of the defendant. These issues point out the basic artistic and technical flaws of filmmaking that had been weeded out by most in the industry by the time this film was made. The single redeeming characteristic of this film based on these criteria is the acting. Thompson and Bordwell say, "Renee Falconetti gave an astonishingly sincere, intense performance as Joan" (Kindle Loc. 5896) It can be said that the performances in The Passion of Joan of Arc are beyond any negative criticism. However, this sole exception cannot compensate for the overall poor execution of this production. Therefore, it can be argued that had the filmmaker used more fundamentally cinematic techniques, The Passion of Joan of Arc may not have fallen into obscurity only to be discovered in a sanitarium in Oslo back in the 80s.

evanston_dad Carl Dreyer's "The Passion of Joan of Arc" is a film that feels light years ahead of its time. Lean and mean, focusing its entire narrative on the interrogation of Joan that inevitably lead to her execution by burning at the stake, the film is kinetic in ways that most films even now aren't. Composed almost completely of tight close ups, Dreyer and crew cut rapidly between disconcerting, asymmetrical shots, giving the film a breathless, anxious, nearly frenzied pace.Maria Falconetti gives an almost unbelievably intense performance as the title heroine. Her performance, and the film in general, does get a bit monotonous -- it exists primarily of impassioned gazes into the middle distance, giant, tearing eyes opened wide, an expression of passionate, nearly demented religious fervor on her face. It's not a film that concerns itself with characters and plot, so we don't get to know Joan as a person. It's difficult to care for her particular plight and we instead feel compassion for her as one human being feeling compassion for another. For that reason, the film left me remembering its striking images and formal style more than any emotions I might have felt while watching it. But it's no less of a remarkable cinematic achievement for that.Grade: A

Jackson Booth-Millard From director Carl Theodor Dreyer (Vampyr, Ordet, Gertrud), this is a Danish silent film I was really looking forward to watching because of all the critical acclaim I knew it had, including of course it's placing in the 100 Movies You Must See Before You Die book. Based on the real authentic records of the historic trial, this film depicts the last few days of Jeanne d'Arc, better known as Joan of Arc (Maria Renée Falconetti), on trial for the crime of heresy, because she believed it was her mission from God to support King Charles VII and fight or lead in the Hundred Years War, the battle between France and England. In court she is questioned by Bishop Pierre Cauchon (Eugène Silvain) and supported by some as a true saint, and she remains dedicated to her beliefs, and in her cell, while judges try to find evidence to convict her, she is interrogated by priests and attempts to convince her to change her views fail. These attempts include a false letter from the king, and she is denied a Mass, Jeanne does become visibly emotional during trial, with those speaking ill of her strong religious beliefs and the antagonism, she also faints at the sight of the torture chamber, but she does not give in to any demands of a change to her statements. However Jeanne is threatened with the penalty of being burned at the stake, and she finally breaks, allowing a priest to have her sign a document of confession, and she is given communion, but then again Jeanne recants and in the end as punishment is publicly executed in the courtyard at Rouen castle, burning at the stake while a crowd protests. Also starring André Berley as Jean d'Estivet, Maurice Schutz as Nicolas Loyseleur, Antonin Artaud as Jean Massieu, Michel Simon as Jean Lemaître, Jean d'Yd as Guillaume Evrard, Louis Ravet as Jean Beaupère and Gilbert Dalleu as Jean Lemaître. Falconetti gives an extraordinary performance as the title character, you can see all the emotions in her face with the many closeups, it is the only role she ever had as well, this film goes to show that not all films need sound or dialogue when you have a magnificent leading performer, and there are some really good camera angles, zooms, tilts and pans that create the intensity, this really is a compelling and must see classic silent drama. Very good!