Joan of Arc films Wikipedia pages

Joan of Arc (1900 film)

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Jump to: navigation, search


Jeanne d'Arc
Jeanne D'arc Silent Film 1900 scene.jpg
Joan burning at the stake at the climax of the film

Directed by
Georges Méliès
Produced by
Georges Méliès
Written by
Georges Méliès
Starring
Jeanne Calvière
Georges Méliès
Jeanne d'Alcy

Cinematography
Leclerc

Production
 company

Star Film Company


Release dates

1900


Running time
 10 minutes
Country
France
Language
Silent
Joan of Arc (French: Jeanne d'Arc) is a 1900 French silent film directed by Georges Méliès, based on the life of Joan of Arc.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release and survival
5 See also
6 References
7 External links

Plot[edit]
In the village of Domrémy, the young Joan is visited by Saint Michael, Saint Catherine, and Saint Margaret, who exhort her to fight for her country. Her father Jacques d'Arc, mother Isabelle Romée, and uncle beg her to stay at home, but she leaves them and travels to Vaucouleurs, where she meets with the governor, Captain Robert de Baudricourt. The dissipated Baudricourt initially scorns Joan's ideals, but her zeal eventually wins him over, and he gives her authority to lead French soldiers. Joan and her army lead a triumphal procession into Orléans, followed by a large crowd. Then, in Reims Cathedral, Charles VII is crowned King of France.
At the Siege of Compiègne, Joan is taken prisoner while her army attempts to storm the castle. In prison, Joan has another dream in which she sees her visions again. Taken to the interrogation, Joan refuses to sign a retraction, and is condemned as a heretic. In the Rouen marketplace, Joan is burned at the stake. The wood carrier at the execution, bringing in fuel for the burning, dies on the spot from the fumes. In a final apotheosis scene, Joan rises to heaven, where she is greeted by God and the saints.
Cast[edit]
Jeanne Calvière as Joan of Arc.[1] Calvière, a stablewoman at the Cirque d'Hiver, was hired for this film and remained among Méliès's core troupe of actors for several years afterward.[2]
Georges Méliès in seven roles: Jeanne's father; Jeanne's uncle; Robert de Baudricourt; a beggar at the Orléans procession; a soldier at the Siege of Compiègne; one of Joan's jailers; and the wood carrier at the execution.[3]
Jeanne d'Alcy in three roles: Jeanne's mother; a lady at Vaucouleurs; and a lady at Orléans.[3]
Production[edit]


File:Jeanne d'Arc (1900).webm
Play media


 The surviving print of the film
The film was made in the spring of 1900.[4] It was the first of Méliès's films to surpass 200 meters in length, and the second (after his Cinderella the previous year) to use changes of scene, with twelve sets employed and that number of scenes, or tableaux, advertised.[4] (Cinderella was advertised as having twenty tableaux, but they were filmed on only six sets; this division of long scenes into smaller segments for advertising purposes would become Méliès's standard practice. Joan of Arc, by contrast, was advertised with twelve scenes, one per set.)[3] The artist Charles Claudel, who also repainted the interior of the Théâtre Robert-Houdin in 1901 following Méliès's designs,[5] was the set painter for the film.[6] The cameraman was Leclerc,[6] who also worked for Méliès as the pianist at the Théâtre Robert-Houdin.[7]
Méliès's scenario for the film strongly emphasizes Joan's status as a national hero of France and a martyr for the French people; the first scene, in which Joan enters leading a flock of sheep, foreshadows her eventual leading of the French army. The final scene, with its triumphal entry of Joan into heaven and her meeting God, suggests Joan's suitability for Catholic sainthood.[8] (Joan of Arc was beatified by the Church in 1909 and canonized in 1920.)[9]
Most of the film is staged in Méliès's usual theatrical style, with a stationary camera viewing the action from afar, in a long shot, as if viewing a stage spectacle from a seat in the audience. However, the eighth scene, the Siege of Compiègne, is notable for a more modern-looking visual effect: in that scene, actors move much closer to the camera, in the distance of a medium shot. This is the second example, among Méliès's extant films, of experiments with medium shots; the first had occurred the previous year in Bagarre entre journalistes, an installment of Méliès's series The Dreyfus Affair.[3]
An advertisement for the film claims that "almost 500 people" can be seen in the grand parade at Orléans, an effect created by having a moderately sized group of people cross the screen from left to right, go around the north side of the studio, and re-enter, repeating the cycle several times to simulate a much larger crowd.[4]
Release and survival[edit]
Joan of Arc was released by Méliès's Star Film Company and is numbered 264–275 in its catalogues,[3] where it was advertised as a pièce cinématographique à grand spectacle en 12 tableaux.[4] As the film scholar Jacques Malthête has noted, Méliès's descriptions of the film in advertising material never mention that Joan's enemies are English; this omission occurs not only in the English-language materials (where mentioning conflict with the French may have been thought harmful to sales), but also in the French ones (where the omission is less understandable).[3]
The film was Méliès's second big cinematic success (Cinderella was the first).[4] It was shown widely in France, and was also exhibited elsewhere, including in Montreal and Havana.[3] In England, the film was distributed by the Warwick Trading Company, which handled English releases of Méliès's films until 1902.[3] In the United States, the Edison Manufacturing Company sold "dupes" (illegally duplicated prints) of the film.[10] American film piracy became such a problem for Méliès, especially after the success of his much-pirated 1902 film A Trip to the Moon, that he opened an American branch of his company in New York in 1903, under the direction by his brother Gaston Méliès, for added copyright protection.[11]
The film was believed lost until 1982, when a hand-colored print with the first scene missing was discovered by the collector René Charles.[3]
See also[edit]
Cultural depictions of Joan of Arc
References[edit]
1.Jump up ^ Bertrand, Aude (2010), Georges Méliès et les professionnels de son temps (PDF) (master's thesis), Université de Lyon, p. 69, retrieved 19 December 2014
2.Jump up ^ Wemaere, Séverine; Duval, Gilles (2011), La couleur retrouvée du Voyage dans la Lune (PDF), Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage, p. 165, retrieved 19 December 2014
3.^ Jump up to: a b c d e f g h i Malthête, Jacques (2002), "La Jeanne d'Arc de Georges Méliès", 1895 36: 117–132, retrieved 20 December 2014
4.^ Jump up to: a b c d e Malthête, Jacques; Mannoni, Laurent (2008), L'oeuvre de Georges Méliès, Paris: Éditions de La Martinière, p. 106, ISBN 9782732437323
5.Jump up ^ Rivière-Petitot, Anne, "L'énigme Charles Claudel (1873-?)", Association Camille Claudel, retrieved 20 December 2014
6.^ Jump up to: a b Blaetz, Robin (2001), Visions of the Maid: Joan of Arc in American Film and Culture, Charlottesville, VA: University Press of Virginia, p. 249, retrieved 20 December 2014
7.Jump up ^ Rosen, Miriam (1987), "Méliès, Georges", in Wakeman, John, World Film Directors: Volume I, 1890–1945, New York: The H. W. Wilson Company, p. 753, ISBN 0-8242-0757-2
8.Jump up ^ Harty, Kevin J. (1996), "Jeanne au Cinéma", in Wheeler, Bonnie; Wood, Charles T., Fresh Verdicts on Joan of Arc, New York: Garland Publishing, pp. 237–238
9.Jump up ^ Gildea, Robert (1996), The Past in French History, New Haven: Yale University Press, pp. 159–161
10.Jump up ^ Musser, Charles (1991), Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, Berkeley: University of California Press, p. 238
11.Jump up ^ Rosen 1987, p. 755
External links[edit]
Jeanne d'Arc at the Internet Movie Database
The short film Jeanne d'Arc is available for free download at the Internet Archive


[show]
v ·
 t ·
 e
 
Films directed by Georges Méliès












































































































  


Categories: 1900 films
Silent films
Black-and-white films
French silent short films
French films
Films directed by Georges Méliès
Films about Joan of Arc






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Joan of Arc (1900 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Jeanne d'Arc
Jeanne D'arc Silent Film 1900 scene.jpg
Joan burning at the stake at the climax of the film

Directed by
Georges Méliès
Produced by
Georges Méliès
Written by
Georges Méliès
Starring
Jeanne Calvière
Georges Méliès
Jeanne d'Alcy

Cinematography
Leclerc

Production
 company

Star Film Company


Release dates

1900


Running time
 10 minutes
Country
France
Language
Silent
Joan of Arc (French: Jeanne d'Arc) is a 1900 French silent film directed by Georges Méliès, based on the life of Joan of Arc.


Contents  [hide]
1 Plot
2 Cast
3 Production
4 Release and survival
5 See also
6 References
7 External links

Plot[edit]
In the village of Domrémy, the young Joan is visited by Saint Michael, Saint Catherine, and Saint Margaret, who exhort her to fight for her country. Her father Jacques d'Arc, mother Isabelle Romée, and uncle beg her to stay at home, but she leaves them and travels to Vaucouleurs, where she meets with the governor, Captain Robert de Baudricourt. The dissipated Baudricourt initially scorns Joan's ideals, but her zeal eventually wins him over, and he gives her authority to lead French soldiers. Joan and her army lead a triumphal procession into Orléans, followed by a large crowd. Then, in Reims Cathedral, Charles VII is crowned King of France.
At the Siege of Compiègne, Joan is taken prisoner while her army attempts to storm the castle. In prison, Joan has another dream in which she sees her visions again. Taken to the interrogation, Joan refuses to sign a retraction, and is condemned as a heretic. In the Rouen marketplace, Joan is burned at the stake. The wood carrier at the execution, bringing in fuel for the burning, dies on the spot from the fumes. In a final apotheosis scene, Joan rises to heaven, where she is greeted by God and the saints.
Cast[edit]
Jeanne Calvière as Joan of Arc.[1] Calvière, a stablewoman at the Cirque d'Hiver, was hired for this film and remained among Méliès's core troupe of actors for several years afterward.[2]
Georges Méliès in seven roles: Jeanne's father; Jeanne's uncle; Robert de Baudricourt; a beggar at the Orléans procession; a soldier at the Siege of Compiègne; one of Joan's jailers; and the wood carrier at the execution.[3]
Jeanne d'Alcy in three roles: Jeanne's mother; a lady at Vaucouleurs; and a lady at Orléans.[3]
Production[edit]


File:Jeanne d'Arc (1900).webm
Play media


 The surviving print of the film
The film was made in the spring of 1900.[4] It was the first of Méliès's films to surpass 200 meters in length, and the second (after his Cinderella the previous year) to use changes of scene, with twelve sets employed and that number of scenes, or tableaux, advertised.[4] (Cinderella was advertised as having twenty tableaux, but they were filmed on only six sets; this division of long scenes into smaller segments for advertising purposes would become Méliès's standard practice. Joan of Arc, by contrast, was advertised with twelve scenes, one per set.)[3] The artist Charles Claudel, who also repainted the interior of the Théâtre Robert-Houdin in 1901 following Méliès's designs,[5] was the set painter for the film.[6] The cameraman was Leclerc,[6] who also worked for Méliès as the pianist at the Théâtre Robert-Houdin.[7]
Méliès's scenario for the film strongly emphasizes Joan's status as a national hero of France and a martyr for the French people; the first scene, in which Joan enters leading a flock of sheep, foreshadows her eventual leading of the French army. The final scene, with its triumphal entry of Joan into heaven and her meeting God, suggests Joan's suitability for Catholic sainthood.[8] (Joan of Arc was beatified by the Church in 1909 and canonized in 1920.)[9]
Most of the film is staged in Méliès's usual theatrical style, with a stationary camera viewing the action from afar, in a long shot, as if viewing a stage spectacle from a seat in the audience. However, the eighth scene, the Siege of Compiègne, is notable for a more modern-looking visual effect: in that scene, actors move much closer to the camera, in the distance of a medium shot. This is the second example, among Méliès's extant films, of experiments with medium shots; the first had occurred the previous year in Bagarre entre journalistes, an installment of Méliès's series The Dreyfus Affair.[3]
An advertisement for the film claims that "almost 500 people" can be seen in the grand parade at Orléans, an effect created by having a moderately sized group of people cross the screen from left to right, go around the north side of the studio, and re-enter, repeating the cycle several times to simulate a much larger crowd.[4]
Release and survival[edit]
Joan of Arc was released by Méliès's Star Film Company and is numbered 264–275 in its catalogues,[3] where it was advertised as a pièce cinématographique à grand spectacle en 12 tableaux.[4] As the film scholar Jacques Malthête has noted, Méliès's descriptions of the film in advertising material never mention that Joan's enemies are English; this omission occurs not only in the English-language materials (where mentioning conflict with the French may have been thought harmful to sales), but also in the French ones (where the omission is less understandable).[3]
The film was Méliès's second big cinematic success (Cinderella was the first).[4] It was shown widely in France, and was also exhibited elsewhere, including in Montreal and Havana.[3] In England, the film was distributed by the Warwick Trading Company, which handled English releases of Méliès's films until 1902.[3] In the United States, the Edison Manufacturing Company sold "dupes" (illegally duplicated prints) of the film.[10] American film piracy became such a problem for Méliès, especially after the success of his much-pirated 1902 film A Trip to the Moon, that he opened an American branch of his company in New York in 1903, under the direction by his brother Gaston Méliès, for added copyright protection.[11]
The film was believed lost until 1982, when a hand-colored print with the first scene missing was discovered by the collector René Charles.[3]
See also[edit]
Cultural depictions of Joan of Arc
References[edit]
1.Jump up ^ Bertrand, Aude (2010), Georges Méliès et les professionnels de son temps (PDF) (master's thesis), Université de Lyon, p. 69, retrieved 19 December 2014
2.Jump up ^ Wemaere, Séverine; Duval, Gilles (2011), La couleur retrouvée du Voyage dans la Lune (PDF), Groupama Gan Foundation for Cinema and Technicolor Foundation for Cinema Heritage, p. 165, retrieved 19 December 2014
3.^ Jump up to: a b c d e f g h i Malthête, Jacques (2002), "La Jeanne d'Arc de Georges Méliès", 1895 36: 117–132, retrieved 20 December 2014
4.^ Jump up to: a b c d e Malthête, Jacques; Mannoni, Laurent (2008), L'oeuvre de Georges Méliès, Paris: Éditions de La Martinière, p. 106, ISBN 9782732437323
5.Jump up ^ Rivière-Petitot, Anne, "L'énigme Charles Claudel (1873-?)", Association Camille Claudel, retrieved 20 December 2014
6.^ Jump up to: a b Blaetz, Robin (2001), Visions of the Maid: Joan of Arc in American Film and Culture, Charlottesville, VA: University Press of Virginia, p. 249, retrieved 20 December 2014
7.Jump up ^ Rosen, Miriam (1987), "Méliès, Georges", in Wakeman, John, World Film Directors: Volume I, 1890–1945, New York: The H. W. Wilson Company, p. 753, ISBN 0-8242-0757-2
8.Jump up ^ Harty, Kevin J. (1996), "Jeanne au Cinéma", in Wheeler, Bonnie; Wood, Charles T., Fresh Verdicts on Joan of Arc, New York: Garland Publishing, pp. 237–238
9.Jump up ^ Gildea, Robert (1996), The Past in French History, New Haven: Yale University Press, pp. 159–161
10.Jump up ^ Musser, Charles (1991), Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, Berkeley: University of California Press, p. 238
11.Jump up ^ Rosen 1987, p. 755
External links[edit]
Jeanne d'Arc at the Internet Movie Database
The short film Jeanne d'Arc is available for free download at the Internet Archive


[show]
v ·
 t ·
 e
 
Films directed by Georges Méliès












































































































  


Categories: 1900 films
Silent films
Black-and-white films
French silent short films
French films
Films directed by Georges Méliès
Films about Joan of Arc






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This page was last modified on 24 January 2015, at 15:18.
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Joan of Arc (1935 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Das Mädchen Johanna

Directed by
Gustav Ucicky
Written by
Gerhard Menzel
Starring
Angela Salloker, Gustaf Gründgens, Heinrich George

Release dates

26 April 1935

Country
Germany
Language
German
Joan of Arc (German:Das Mädchen Johanna) is a 1935 German historical film directed by Gustav Ucicky and starring Angela Salloker, Gustaf Gründgens and Heinrich George. It depicts the life of Joan of Arc, and is the first female embodiment of the Nazi Fuhrer figure in film. The press in Germany and abroad detected direct parallels between the presentation of France in 1492 and the situation in Germany in 1935.[1]


Contents  [hide]
1 Cast
2 References
3 Bibliography
4 External links

Cast[edit]
Angela Salloker as Johanna
Gustaf Gründgens as King Charles VII
Heinrich George as Herzog von Burgund
René Deltgen as Maillezais
Erich Ponto as Lord Talbot
Willy Birgel as La Trémouille
Theodor Loos as Dunois
Aribert Wäscher as Valençon
Franz Nicklisch as Johann von Metz
Veit Harlan as Pierre
Paul Bildt as Bürger
Bernhard Minetti as Amtmann
S.O. Schoening as Pater
Friedrich Ulmer as Captain
Fritz Genschow as Hauptmann
Paul Wagner as Herald
Karl Dannemann as English soldier
Wera Liessem as Mädchen aus dem Volk
Maria Koppenhöfer as Frau aus dem Volk
Elsa Wagner as Frau aus dem Volk
Josef Sieber as Mann bei der Krönung
References[edit]
1.Jump up ^ Fox p.24
Bibliography[edit]
Fox, Jo. Filming women in the Third Reich. Berg, 2000.
External links[edit]
Joan of Arc at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Films directed by Gustav Ucicky


Die Pratermizzi (1926) ·
 Café Elektric (1927) ·
 Restless Hearts (1928) ·
 The Convict from Istanbul (1929) ·
 The Flute Concert of Sans-Souci (1930) ·
 Hokuspokus (1930) ·
 The Temporary Widow (1930) ·
 Yorck (1931) ·
 Man Without a Name (1932) ·
 Morgenrot (1933) ·
 Flüchtlinge (1933) ·
 Joan of Arc (1935) ·
 The Broken Jug (1937) ·
 Uproar in Damascus (1939) ·
 Der Postmeister (1940) ·
 Heimkehr (1941) ·
 Der Jäger von Fall (1956) ·
 The Girl from the Marsh Croft (1958)
 

Stub icon This article related to a German film of the 1930s is a stub. You can help Wikipedia by expanding it.




Stub icon This article related to historical films is a stub. You can help Wikipedia by expanding it.




  


Categories: 1935 films
German-language films
1930s historical films
German historical films
German drama films
German films
Films directed by Gustav Ucicky
Films about Joan of Arc
Films set in France
1930s German film stubs
Historical film stubs





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This page was last modified on 25 July 2014, at 18:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/Joan_of_Arc_(1935_film)

















Joan of Arc (1935 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Das Mädchen Johanna

Directed by
Gustav Ucicky
Written by
Gerhard Menzel
Starring
Angela Salloker, Gustaf Gründgens, Heinrich George

Release dates

26 April 1935

Country
Germany
Language
German
Joan of Arc (German:Das Mädchen Johanna) is a 1935 German historical film directed by Gustav Ucicky and starring Angela Salloker, Gustaf Gründgens and Heinrich George. It depicts the life of Joan of Arc, and is the first female embodiment of the Nazi Fuhrer figure in film. The press in Germany and abroad detected direct parallels between the presentation of France in 1492 and the situation in Germany in 1935.[1]


Contents  [hide]
1 Cast
2 References
3 Bibliography
4 External links

Cast[edit]
Angela Salloker as Johanna
Gustaf Gründgens as King Charles VII
Heinrich George as Herzog von Burgund
René Deltgen as Maillezais
Erich Ponto as Lord Talbot
Willy Birgel as La Trémouille
Theodor Loos as Dunois
Aribert Wäscher as Valençon
Franz Nicklisch as Johann von Metz
Veit Harlan as Pierre
Paul Bildt as Bürger
Bernhard Minetti as Amtmann
S.O. Schoening as Pater
Friedrich Ulmer as Captain
Fritz Genschow as Hauptmann
Paul Wagner as Herald
Karl Dannemann as English soldier
Wera Liessem as Mädchen aus dem Volk
Maria Koppenhöfer as Frau aus dem Volk
Elsa Wagner as Frau aus dem Volk
Josef Sieber as Mann bei der Krönung
References[edit]
1.Jump up ^ Fox p.24
Bibliography[edit]
Fox, Jo. Filming women in the Third Reich. Berg, 2000.
External links[edit]
Joan of Arc at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Films directed by Gustav Ucicky


Die Pratermizzi (1926) ·
 Café Elektric (1927) ·
 Restless Hearts (1928) ·
 The Convict from Istanbul (1929) ·
 The Flute Concert of Sans-Souci (1930) ·
 Hokuspokus (1930) ·
 The Temporary Widow (1930) ·
 Yorck (1931) ·
 Man Without a Name (1932) ·
 Morgenrot (1933) ·
 Flüchtlinge (1933) ·
 Joan of Arc (1935) ·
 The Broken Jug (1937) ·
 Uproar in Damascus (1939) ·
 Der Postmeister (1940) ·
 Heimkehr (1941) ·
 Der Jäger von Fall (1956) ·
 The Girl from the Marsh Croft (1958)
 

Stub icon This article related to a German film of the 1930s is a stub. You can help Wikipedia by expanding it.




Stub icon This article related to historical films is a stub. You can help Wikipedia by expanding it.




  


Categories: 1935 films
German-language films
1930s historical films
German historical films
German drama films
German films
Films directed by Gustav Ucicky
Films about Joan of Arc
Films set in France
1930s German film stubs
Historical film stubs





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Log in



Article

Talk









Read

Edit

View history

















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Interaction
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Contact page

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What links here
Related changes
Upload file
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Page information
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Cite this page

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Create a book
Download as PDF
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Edit links
This page was last modified on 25 July 2014, at 18:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/Joan_of_Arc_(1935_film)















Giovanna d'Arco al rogo

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Jump to: navigation, search

For the oratorio by Arthur Honegger, see Jeanne d'Arc au bûcher.

Giovanna d'Arco al rogo
Giovanna d'Arco al rogo film poster.jpg
Directed by
Roberto Rossellini
Produced by
Giorgio Criscuolo
Franco Francese
Written by
Roberto Rossellini
Starring
Ingrid Bergman
Tullio Carminati
Narrated by
[tua
Music by
Arthur Honegger
Cinematography
Gábor Pogány
Edited by
Jolanda Benvenuti

Release dates
 December 20, 1954

Running time
 76 Min
Country
Italy
Language
Italian
Giovanna d'Arco al rogo (English: Joan of Arc at the Stake) is a 1954 Italian film directed by Roberto Rossellini and starring his wife Ingrid Bergman, which shows a live performance on December 1953 at the San Carlo Theatre in Naples. It is based on the oratorio Jeanne d'Arc au Bûcher by Paul Claudel and Arthur Honegger. It was filmed using a color process called Gevacolor.
Plot[edit]



 Joan of Arc and Fra Domenico
The film takes place mostly in a surrealistic fantasy around the time of the execution of Joan of Arc. Joan of Arc, played by Ingrid Bergman, is being burned alive for heresy. In a kind of dream state, she departs from her body and looks back upon her life. She begins this journey depressed and demoralized. However, a priest appears to help guide her. First, he shows her those who accused her in the guise of animal characters, in order to show her their true nature. Then, he shows her the good that she has performed for people. In the end, she is proud of what she has done and is ready to face the flames.
Reception[edit]
Like most Bergman and Rossellini collaborations, it did not perform well at the box office.
External links[edit]
Giovanna d'Arco al rogo at the Internet Movie Database


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Films directed by Roberto Rossellini


La Vispa Teresa (1939) ·
 The White Ship (1941) ·
 A Pilot Returns (1942) ·
 The Man with a Cross (1943) ·
 Rome, Open City (1945) ·
 Paisan (1946) ·
 L'Amore (segment: "Il Miracolo") (1948) ·
 Germany, Year Zero (1948) ·
 Stromboli (1950) ·
 The Flowers of St. Francis (1950) ·
 The Seven Deadly Sins (segment: "Envie, L'Envy") (1952) ·
 Machine to Kill Bad People (1952) ·
 Europe '51 (1952) ·
 We, the Women (segment: "Ingrid Bergman") (1953) ·
 Where Is Freedom? (1954) ·
 Journey to Italy (1954) ·
 Fear (1954) ·
 Giovanna d'Arco al rogo (1954) ·
 India: Matri Bhumi (1959) ·
 General della Rovere (1959) ·
 Escape by Night (1960) ·
 Garibaldi (1961) ·
 Vanina Vanini (1961) ·
 Anima nera (1962) ·
 Ro.Go.Pa.G. (segment: "Illibatezza") (1963) ·
 The Carabineers (1963) ·
 The Taking of Power by Louis XIV (1966) ·
 Socrates (1971) ·
 Anno uno (1974)
 

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Categories: Italian-language films
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Giovanna d'Arco al rogo

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For the oratorio by Arthur Honegger, see Jeanne d'Arc au bûcher.

Giovanna d'Arco al rogo
Giovanna d'Arco al rogo film poster.jpg
Directed by
Roberto Rossellini
Produced by
Giorgio Criscuolo
Franco Francese
Written by
Roberto Rossellini
Starring
Ingrid Bergman
Tullio Carminati
Narrated by
[tua
Music by
Arthur Honegger
Cinematography
Gábor Pogány
Edited by
Jolanda Benvenuti

Release dates
 December 20, 1954

Running time
 76 Min
Country
Italy
Language
Italian
Giovanna d'Arco al rogo (English: Joan of Arc at the Stake) is a 1954 Italian film directed by Roberto Rossellini and starring his wife Ingrid Bergman, which shows a live performance on December 1953 at the San Carlo Theatre in Naples. It is based on the oratorio Jeanne d'Arc au Bûcher by Paul Claudel and Arthur Honegger. It was filmed using a color process called Gevacolor.
Plot[edit]



 Joan of Arc and Fra Domenico
The film takes place mostly in a surrealistic fantasy around the time of the execution of Joan of Arc. Joan of Arc, played by Ingrid Bergman, is being burned alive for heresy. In a kind of dream state, she departs from her body and looks back upon her life. She begins this journey depressed and demoralized. However, a priest appears to help guide her. First, he shows her those who accused her in the guise of animal characters, in order to show her their true nature. Then, he shows her the good that she has performed for people. In the end, she is proud of what she has done and is ready to face the flames.
Reception[edit]
Like most Bergman and Rossellini collaborations, it did not perform well at the box office.
External links[edit]
Giovanna d'Arco al rogo at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Films directed by Roberto Rossellini


La Vispa Teresa (1939) ·
 The White Ship (1941) ·
 A Pilot Returns (1942) ·
 The Man with a Cross (1943) ·
 Rome, Open City (1945) ·
 Paisan (1946) ·
 L'Amore (segment: "Il Miracolo") (1948) ·
 Germany, Year Zero (1948) ·
 Stromboli (1950) ·
 The Flowers of St. Francis (1950) ·
 The Seven Deadly Sins (segment: "Envie, L'Envy") (1952) ·
 Machine to Kill Bad People (1952) ·
 Europe '51 (1952) ·
 We, the Women (segment: "Ingrid Bergman") (1953) ·
 Where Is Freedom? (1954) ·
 Journey to Italy (1954) ·
 Fear (1954) ·
 Giovanna d'Arco al rogo (1954) ·
 India: Matri Bhumi (1959) ·
 General della Rovere (1959) ·
 Escape by Night (1960) ·
 Garibaldi (1961) ·
 Vanina Vanini (1961) ·
 Anima nera (1962) ·
 Ro.Go.Pa.G. (segment: "Illibatezza") (1963) ·
 The Carabineers (1963) ·
 The Taking of Power by Louis XIV (1966) ·
 Socrates (1971) ·
 Anno uno (1974)
 

Stub icon This 1950s drama film-related article is a stub. You can help Wikipedia by expanding it.




Stub icon This article related to an Italian film of the 1950s is a stub. You can help Wikipedia by expanding it.




  


Categories: Italian-language films
1954 films
Italian epic films
Italian films
Italian historical films
1950s drama films
Films about Christianity
Religious epic films
Works relating to Joan of Arc
Films directed by Roberto Rossellini
1950s historical films
1950s drama film stubs
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Joan of Arc (1948 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Joan of Arc
Joan of arc (1948 film poster).jpg
Original theatrical release poster

Directed by
Victor Fleming
Produced by
Walter Wanger
Screenplay by
Maxwell Anderson
Andrew Solt
Based on
Joan of Lorraine
 by Maxwell Anderson
Starring
Ingrid Bergman
Music by
Hugo Friedhofer
Cinematography
Joseph Valentine
Edited by
Frank Sullivan

Production
 company

Sierra Pictures

Distributed by
RKO Radio Pictures
(complete version)
 Balboa Film Distributors
(edited version)

Release dates

November 11, 1948 (New York City premiere)


Running time
 145 minutes
(complete version)
 100 minutes
(edited version)
Country
United States
Language
English
Budget
$4,650,506[1]
Box office
$5,768,142[1]
Joan of Arc is a 1948 American epic historical drama film directed by Victor Fleming, and starring Ingrid Bergman as the French religious icon and war heroine. It was produced by Walter Wanger. It is based on Maxwell Anderson's successful Broadway play Joan of Lorraine, which also starred Bergman, and was adapted for the screen by Anderson himself, in collaboration with Andrew Solt. It is the only film of an Anderson play for which the author himself wrote the film script (at least partially).
Bergman had been lobbying to play Joan for many years, and this film was considered a dream project for her. It received mixed reviews and lower-than-expected box office, though it clearly was not a "financial disaster" as is often claimed. Donald Spoto, in a biography of Ingrid Bergman, even claims that "the critics' denunciations notwithstanding, the film earned back its investment with a sturdy profit".[2]
The movie is considered by some to mark the start of a low period in the actress's career that would last until she made Anastasia in 1956. In April 1949, five months after the release of the film, and before it had gone out on general release, the revelation of Bergman's extramarital relationship with Italian director Roberto Rossellini brought her American screen career to a temporary halt. The nearly two-and-a-half hour film was subsequently drastically edited for its general release, and was not restored to its original length for nearly fifty years.
Bergman and co-star José Ferrer (making his first film appearance and playing the Dauphin)[3] received Academy Award nominations for their performances. The film was director Victor Fleming's last project — he died only two months after its release.
In Michael Sragow's 2008 biography of the director, he claims that Fleming, who was, according to Sragrow, romantically involved with Ingrid Bergman at the time, was deeply unhappy with the finished product, and even wept upon seeing it for the first time.[4] Sragrow speculates that the disappointment of the failed relationship and the failure of the film may have led to Fleming's fatal heart attack, but there is no real evidence to support this. While contemporary critics may have agreed with Fleming's assessment of Joan of Arc, more recent reviewers of the restored complete version on DVD have not.[5][6][7][8]


Contents  [hide]
1 Plot
2 Cast
3 Academy Award wins and nominations
4 Production
5 Reception
6 Versions 6.1 Differences between complete and edited versions
7 See also
8 References
9 External links

Plot[edit]
Unlike the play Joan of Lorraine, which is a drama that shows how the story of Joan affects a group of actors who are performing it, the film is a straightforward recounting of the life of the French heroine. It begins with an obviously painted shot of the inside of a basilica with a shaft of light, possibly descending from heaven, shining down from the ceiling, and a solemn off-screen voice pronouncing the canonization of the Maid of Orleans. Then, the opening page of what appears to be a church manuscript recounting Joan's life in Latin is shown on the screen, while some uncredited voiceover narration by actor Shepperd Strudwick sets up the tale. The actual story of Joan then begins, from the time she becomes convinced that she has been divinely called to save France to her being burnt at the stake at the hands of the English and the Burgundians.
Cast[edit]

At Domrémy, Joan's Birthplace in Lorraine, December 1428
Ingrid Bergman as Jeanne d'Arc
Selena Royle as Isabelle d'Arc, her mother
Robert Barrat as Jacques d'Arc, her father
James Lydon as Pierre d'Arc, her younger brother
Rand Brooks as Jean d'Arc, her older brother
Roman Bohnen as Durand Laxart, her uncle
At Vaucouleurs, February 1429
Irene Rich as Catherine le Royer, her friend
Nestor Paiva as Henri le Royer, Catherine's husband
Richard Derr as Jean de Metz, a knight
Ray Teal as Bertrand de Poulengy, a squire
David Bond as Jeun Fournier, Cure of Vaucouleurs
George Zucco as Constable of Clervaux
George Coulouris as Sir Robert de Baudricourt, Governor of Vaucouleurs
The Court of Charles VII at Chinon, March 1429
John Emery as Jean, Duke d'Alencon, cousin of Charles
Gene Lockhart as Georges de la Trémoille, the Dauphin's chief counselor
Nicholas Joy as Regnault de Chartres, Archbishop of Rheims and Chancellor of France
Richard Ney as Charles de Bourbon, Duke de Clermont
Vincent Donohue as Alain Chartier, court poet
José Ferrer as The Dauphin, Charles VII, later King of France
The Army at the Battle of Orléans, May 1429
Leif Erickson as Dunois, Bastard of Orleans
John Ireland as Jean de la Boussac (St. Severe), a Captain
Henry Brandon as Gilles de Rais, a Captain
Morris Ankrum as Poton de Xaintrailles, a Captain
Tom Brown Henry as Raoul de Gaucourt, a Captain
Gregg Barton as Louis d'Culan, a Captain
Ethan Laidlaw as Jean d'Aulon, her squire
Hurd Hatfield as Father Pasquerel, her Chaplain
Ward Bond as La Hire

The Enemy
Frederick Worlock as John of Lancaster, Duke of Bedford, England's Regent
Dennis Hoey as Sir William Glasdale
Colin Keith-Johnston as Philip the Good, Duke of Burgundy
Mary Currier as Jeane, Countess of Luxembourg
Ray Roberts as Lionel of Wandomme, a Burgundian Captain
J. Carrol Naish as John, Count of Luxembourg, her Captor
The Trial at Rouen, February 21st to May 30th, 1431
Francis L. Sullivan as Bishop Pierre Cauchon of Beauvais, the trial conductor
Shepperd Strudwick as Father Jean Massieu, her Bailiff
Taylor Holmes as the Bishop of Avranches
Alan Napier as Earl of Warwick
Philip Bourneuf as Jean d'Estivet, a Prosecutor
Aubrey Mather as Jean de La Fontaine
Herbert Rudley as Thomas de Courcelles, a Prosecutor
Frank Puglia as Nicolas de Houppeville, a Judge
William Conrad as Guillaume Erard, a Prosecutor
John Parrish as Jean Beaupere, a Judge
Victor Wood as Nicolas Midi, a Judge
Houseley Stevenson as The Cardinal of Winchester
Jeff Corey as her Prison Guard
Bill Kennedy as Thierache, her Executioner
Cecil Kellaway as Jean Le Maistre, Inquisitor of Rouen

Academy Award wins and nominations[edit]
Best Actress (nomination) — Ingrid Bergman[9]
Best Supporting Actor (nomination) — José Ferrer
Best Costume Design (color) (won) — Barbara Karinska, Dorothy Jeakins
Best Cinematography (color) (won) — Joseph Valentine, William Skall, Winton Hoch
Best Film Editing (nomination) — Frank Sullivan
Best Art Direction-Set Decoration (color) (nomination) — Richard Day, Edwin Casey Roberts, Joseph Kish
Best Score, Dramatic or Comedy Picture (nomination) — Hugo Friedhofer
Honorary Award - Walter Wanger "for distinguished service to the industry in adding to its moral stature in the world community by his production of the picture Joan of Arc." (Wanger refused the award in protest of the film's absence in the Best Picture category.)
Production[edit]
Joan of Arc was made in 1947–1948 by an independent company, Sierra Pictures, created especially for this production, and not to be confused with the production company with the same name that made mostly silent films.
Filming began 16 September 1947[10] and was done primarily at Hal Roach Studios, with location scenes shot in the Los Angeles area.
The movie was first released in November 1948 by RKO. When the film was shortened for its general release in 1950, 45 minutes being cut out; it was distributed, not by RKO, but by a company called Balboa Film Distributors, the same company which re-released Alfred Hitchcock's Under Capricorn, also starring Ingrid Bergman.
The 1948 Sierra Pictures never produced another film after Joan of Arc.
Reception[edit]
One of the modern criticisms of the film is that Bergman, who was 33 at the time she made the movie, was nearly twice as old as the real Joan of Arc; the Swedish actress would later play her (at age 39) in a 1954 Italian film, Giovanna d'Arco al rogo (Joan at the Stake). However, reviewers in 1948 did not object to this; it was — and still is — common in for an older actress to play a teenager, as the twenty-four-year-old Jennifer Jones had in 1943's The Song of Bernadette, for which she won a Best Actress Oscar. Children were also sometimes played by older actors at the time; the sixteen year-old Judy Garland had very convincingly played twelve year-old Dorothy Gale in the 1939 film classic The Wizard of Oz, another film directed by Victor Fleming, and the nineteen-year-old Charlotte Henry had played Alice in Alice in Wonderland (1933).
Several critics of the time criticized the film for being slow and talky,[11][12] as does contemporary critic Leonard Maltin, who has not yet reviewed the full-length version; he has said that there is "not enough spectacle to balance the talky sequences".[13]
The film recorded a loss of $2,480,436.[1]
Versions[edit]
The movie was first released in November 1948 by RKO. When the film was shortened for its general release in September 1950, it was distributed not by RKO, but by a company called Balboa Film Distributors, the same company which re-released Alfred Hitchcock's Under Capricorn, also starring Ingrid Bergman. The complete 145 minute version of Joan of Arc remained unseen in the U.S. for about forty-nine years. Although the complete Technicolor negatives remained in storage in Hollywood, the original soundtrack was thought to be lost. The movie was restored in 1998 after an uncut print in mint condition was found in Europe, containing the only known copy of the complete soundtrack. When it finally appeared on DVD, the restored complete version was hailed by online movie critics as being much superior to the edited version. It was released on DVD in 2004.
The edited version received its first television showing on CBS on the evening of April 12, 1968 (an Easter weekend), and has been shown on Ted Turner's WTCG and on cable several times. Although the complete, unedited version of the film was scheduled to be shown on American television for the first time on February 13, 2011, by Turner Classic Movies, with a broadcast window of 2-1/2 hours, it was pulled and the 100 minute edited version was presented later, on Sunday, February 27. However, the full-length version was finally shown on Turner Classic Movies on March 13, 2011. This marked the first time that the complete unedited version had ever been shown on American television. It has now been shown several times by TCM and appears to have supplanted the edited version.
Differences between complete and edited versions[edit]
There are several differences between the full-length roadshow version of the film and the edited general release version.
One that is immediately noticeable is that there is actually a snippet from Joan's trial during the opening narration in the edited version, whereas in the full-length version, the events of Joan's life are shown in chronological order. The narration is more detailed in the edited version than in the complete version, with much of it used to cover the breaks in continuity caused by the severe editing.
The edited version omits crucial scenes that are important to a psychological understanding of the narrative, such as the mention of a dream that Joan's father has which foretells of Joan's campaign against the English. When Joan hears of the dream, she becomes convinced that she has been divinely ordered to drive the English out of France.
Most of the first ten minutes of the film, a section showing Joan praying in the Domrémy shrine, followed by a family dinner and conversation which leads to the mention of the dream, are not in the edited version.
In the complete 145-minute version, the narration is heard only at the beginning of the film, and there are no sudden breaks in continuity.
Entire characters, such as Joan's father (played by Robert Barrat) and Father Pasquerel (played by Hurd Hatfield) are partially or totally omitted from the edited version.
Even the opening credits are somewhat different, and run about two minutes longer. In the edited version, the story begins after Victor Fleming's director's credit, while in the full-length version, after the director's credit, a title card saying "The Players" appears onscreen, after which all the major lead and supporting actors, as well as the characters that they play, are listed in order of appearance and in groups (e.g., "At Domrémy", "At Chinon", etc.), much as in Fleming's other lengthy film epic Gone with the Wind. More than thirty of the actors are listed.
The edited version might be considered more cinematic through its use of maps and voice-over narration to explain the political situation in France. (In the full-length version, Joan's family discusses the political situation during dinner.) The full-length version, although not presented as a play-within-a-play, as the stage version was, nevertheless resembles a stage-to-film adaptation, makes great use of Maxwell Anderson's original dialogue, and may seem, to some, stagy in its method of presentation, despite having a realistic depiction of the Siege of Orléans.
See also[edit]
The Passion of Joan of Arc, an earlier 1928 film by Carl Theodor Dreyer
List of historical drama films
References[edit]
1.^ Jump up to: a b c Matthew Bernstein, Walter Wagner: Hollywood Independent, Minnesota Press, 2000 p444
2.Jump up ^ Notorious: The Life of Ingrid Bergman - Donald Spoto - Google Boeken
3.Jump up ^ Higham, Charles; Greenberg, Joel (1968). Hollywood in the Forties. London: A. Zwemmer Limited. p. 112. ISBN 0-302-00477-7.
4.Jump up ^ Victor Fleming: An American Movie Master: Michael Sragow: 9780375407482: Amazon.com: Books
5.Jump up ^ dOc DVD Review: Joan of Arc (1948)
6.Jump up ^ The DVD Journal | Quick Reviews: Joan of Arc
7.Jump up ^ Joan of Arc : DVD Talk Review of the DVD Video
8.Jump up ^ Joan of Arc : DVD Talk Review of the DVD Video
9.Jump up ^ "NY Times: Joan of Arc". NY Times. Retrieved 2008-12-20.
10.Jump up ^ Nat Segaloff, Final Cuts: The Last Films of 50 Great Directors, Bear Manor Media 2013 p 98-99
11.Jump up ^ Crowther, Bosley (November 12, 1948). "Ingrid Bergman Plays Title Role in 'Joan of Arc' at Victoria -Two Other Films Arrive". The New York Times.
12.Jump up ^ http://www.time.com/time/magazine/article/0,9171,853456,00.html>
13.Jump up ^ Leonard Maltin's 2009 Movie Guide (Leonard Maltin's Movie Guide (Mass Market)): Leonard Maltin: 9780451224682: Amazon.com: Books
External links[edit]
 Wikimedia Commons has media related to Joan of Arc (1948 film).
Joan of Arc at the Internet Movie Database


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Categories: 1948 films
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1940s drama films
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RKO Pictures films
Films about Joan of Arc
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Films whose cinematographer won the Best Cinematography Academy Award
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http://en.wikipedia.org/wiki/Joan_of_Arc_(1948_film)




















Joan of Arc (1948 film)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Joan of Arc
Joan of arc (1948 film poster).jpg
Original theatrical release poster

Directed by
Victor Fleming
Produced by
Walter Wanger
Screenplay by
Maxwell Anderson
Andrew Solt
Based on
Joan of Lorraine
 by Maxwell Anderson
Starring
Ingrid Bergman
Music by
Hugo Friedhofer
Cinematography
Joseph Valentine
Edited by
Frank Sullivan

Production
 company

Sierra Pictures

Distributed by
RKO Radio Pictures
(complete version)
 Balboa Film Distributors
(edited version)

Release dates

November 11, 1948 (New York City premiere)


Running time
 145 minutes
(complete version)
 100 minutes
(edited version)
Country
United States
Language
English
Budget
$4,650,506[1]
Box office
$5,768,142[1]
Joan of Arc is a 1948 American epic historical drama film directed by Victor Fleming, and starring Ingrid Bergman as the French religious icon and war heroine. It was produced by Walter Wanger. It is based on Maxwell Anderson's successful Broadway play Joan of Lorraine, which also starred Bergman, and was adapted for the screen by Anderson himself, in collaboration with Andrew Solt. It is the only film of an Anderson play for which the author himself wrote the film script (at least partially).
Bergman had been lobbying to play Joan for many years, and this film was considered a dream project for her. It received mixed reviews and lower-than-expected box office, though it clearly was not a "financial disaster" as is often claimed. Donald Spoto, in a biography of Ingrid Bergman, even claims that "the critics' denunciations notwithstanding, the film earned back its investment with a sturdy profit".[2]
The movie is considered by some to mark the start of a low period in the actress's career that would last until she made Anastasia in 1956. In April 1949, five months after the release of the film, and before it had gone out on general release, the revelation of Bergman's extramarital relationship with Italian director Roberto Rossellini brought her American screen career to a temporary halt. The nearly two-and-a-half hour film was subsequently drastically edited for its general release, and was not restored to its original length for nearly fifty years.
Bergman and co-star José Ferrer (making his first film appearance and playing the Dauphin)[3] received Academy Award nominations for their performances. The film was director Victor Fleming's last project — he died only two months after its release.
In Michael Sragow's 2008 biography of the director, he claims that Fleming, who was, according to Sragrow, romantically involved with Ingrid Bergman at the time, was deeply unhappy with the finished product, and even wept upon seeing it for the first time.[4] Sragrow speculates that the disappointment of the failed relationship and the failure of the film may have led to Fleming's fatal heart attack, but there is no real evidence to support this. While contemporary critics may have agreed with Fleming's assessment of Joan of Arc, more recent reviewers of the restored complete version on DVD have not.[5][6][7][8]


Contents  [hide]
1 Plot
2 Cast
3 Academy Award wins and nominations
4 Production
5 Reception
6 Versions 6.1 Differences between complete and edited versions
7 See also
8 References
9 External links

Plot[edit]
Unlike the play Joan of Lorraine, which is a drama that shows how the story of Joan affects a group of actors who are performing it, the film is a straightforward recounting of the life of the French heroine. It begins with an obviously painted shot of the inside of a basilica with a shaft of light, possibly descending from heaven, shining down from the ceiling, and a solemn off-screen voice pronouncing the canonization of the Maid of Orleans. Then, the opening page of what appears to be a church manuscript recounting Joan's life in Latin is shown on the screen, while some uncredited voiceover narration by actor Shepperd Strudwick sets up the tale. The actual story of Joan then begins, from the time she becomes convinced that she has been divinely called to save France to her being burnt at the stake at the hands of the English and the Burgundians.
Cast[edit]

At Domrémy, Joan's Birthplace in Lorraine, December 1428
Ingrid Bergman as Jeanne d'Arc
Selena Royle as Isabelle d'Arc, her mother
Robert Barrat as Jacques d'Arc, her father
James Lydon as Pierre d'Arc, her younger brother
Rand Brooks as Jean d'Arc, her older brother
Roman Bohnen as Durand Laxart, her uncle
At Vaucouleurs, February 1429
Irene Rich as Catherine le Royer, her friend
Nestor Paiva as Henri le Royer, Catherine's husband
Richard Derr as Jean de Metz, a knight
Ray Teal as Bertrand de Poulengy, a squire
David Bond as Jeun Fournier, Cure of Vaucouleurs
George Zucco as Constable of Clervaux
George Coulouris as Sir Robert de Baudricourt, Governor of Vaucouleurs
The Court of Charles VII at Chinon, March 1429
John Emery as Jean, Duke d'Alencon, cousin of Charles
Gene Lockhart as Georges de la Trémoille, the Dauphin's chief counselor
Nicholas Joy as Regnault de Chartres, Archbishop of Rheims and Chancellor of France
Richard Ney as Charles de Bourbon, Duke de Clermont
Vincent Donohue as Alain Chartier, court poet
José Ferrer as The Dauphin, Charles VII, later King of France
The Army at the Battle of Orléans, May 1429
Leif Erickson as Dunois, Bastard of Orleans
John Ireland as Jean de la Boussac (St. Severe), a Captain
Henry Brandon as Gilles de Rais, a Captain
Morris Ankrum as Poton de Xaintrailles, a Captain
Tom Brown Henry as Raoul de Gaucourt, a Captain
Gregg Barton as Louis d'Culan, a Captain
Ethan Laidlaw as Jean d'Aulon, her squire
Hurd Hatfield as Father Pasquerel, her Chaplain
Ward Bond as La Hire

The Enemy
Frederick Worlock as John of Lancaster, Duke of Bedford, England's Regent
Dennis Hoey as Sir William Glasdale
Colin Keith-Johnston as Philip the Good, Duke of Burgundy
Mary Currier as Jeane, Countess of Luxembourg
Ray Roberts as Lionel of Wandomme, a Burgundian Captain
J. Carrol Naish as John, Count of Luxembourg, her Captor
The Trial at Rouen, February 21st to May 30th, 1431
Francis L. Sullivan as Bishop Pierre Cauchon of Beauvais, the trial conductor
Shepperd Strudwick as Father Jean Massieu, her Bailiff
Taylor Holmes as the Bishop of Avranches
Alan Napier as Earl of Warwick
Philip Bourneuf as Jean d'Estivet, a Prosecutor
Aubrey Mather as Jean de La Fontaine
Herbert Rudley as Thomas de Courcelles, a Prosecutor
Frank Puglia as Nicolas de Houppeville, a Judge
William Conrad as Guillaume Erard, a Prosecutor
John Parrish as Jean Beaupere, a Judge
Victor Wood as Nicolas Midi, a Judge
Houseley Stevenson as The Cardinal of Winchester
Jeff Corey as her Prison Guard
Bill Kennedy as Thierache, her Executioner
Cecil Kellaway as Jean Le Maistre, Inquisitor of Rouen

Academy Award wins and nominations[edit]
Best Actress (nomination) — Ingrid Bergman[9]
Best Supporting Actor (nomination) — José Ferrer
Best Costume Design (color) (won) — Barbara Karinska, Dorothy Jeakins
Best Cinematography (color) (won) — Joseph Valentine, William Skall, Winton Hoch
Best Film Editing (nomination) — Frank Sullivan
Best Art Direction-Set Decoration (color) (nomination) — Richard Day, Edwin Casey Roberts, Joseph Kish
Best Score, Dramatic or Comedy Picture (nomination) — Hugo Friedhofer
Honorary Award - Walter Wanger "for distinguished service to the industry in adding to its moral stature in the world community by his production of the picture Joan of Arc." (Wanger refused the award in protest of the film's absence in the Best Picture category.)
Production[edit]
Joan of Arc was made in 1947–1948 by an independent company, Sierra Pictures, created especially for this production, and not to be confused with the production company with the same name that made mostly silent films.
Filming began 16 September 1947[10] and was done primarily at Hal Roach Studios, with location scenes shot in the Los Angeles area.
The movie was first released in November 1948 by RKO. When the film was shortened for its general release in 1950, 45 minutes being cut out; it was distributed, not by RKO, but by a company called Balboa Film Distributors, the same company which re-released Alfred Hitchcock's Under Capricorn, also starring Ingrid Bergman.
The 1948 Sierra Pictures never produced another film after Joan of Arc.
Reception[edit]
One of the modern criticisms of the film is that Bergman, who was 33 at the time she made the movie, was nearly twice as old as the real Joan of Arc; the Swedish actress would later play her (at age 39) in a 1954 Italian film, Giovanna d'Arco al rogo (Joan at the Stake). However, reviewers in 1948 did not object to this; it was — and still is — common in for an older actress to play a teenager, as the twenty-four-year-old Jennifer Jones had in 1943's The Song of Bernadette, for which she won a Best Actress Oscar. Children were also sometimes played by older actors at the time; the sixteen year-old Judy Garland had very convincingly played twelve year-old Dorothy Gale in the 1939 film classic The Wizard of Oz, another film directed by Victor Fleming, and the nineteen-year-old Charlotte Henry had played Alice in Alice in Wonderland (1933).
Several critics of the time criticized the film for being slow and talky,[11][12] as does contemporary critic Leonard Maltin, who has not yet reviewed the full-length version; he has said that there is "not enough spectacle to balance the talky sequences".[13]
The film recorded a loss of $2,480,436.[1]
Versions[edit]
The movie was first released in November 1948 by RKO. When the film was shortened for its general release in September 1950, it was distributed not by RKO, but by a company called Balboa Film Distributors, the same company which re-released Alfred Hitchcock's Under Capricorn, also starring Ingrid Bergman. The complete 145 minute version of Joan of Arc remained unseen in the U.S. for about forty-nine years. Although the complete Technicolor negatives remained in storage in Hollywood, the original soundtrack was thought to be lost. The movie was restored in 1998 after an uncut print in mint condition was found in Europe, containing the only known copy of the complete soundtrack. When it finally appeared on DVD, the restored complete version was hailed by online movie critics as being much superior to the edited version. It was released on DVD in 2004.
The edited version received its first television showing on CBS on the evening of April 12, 1968 (an Easter weekend), and has been shown on Ted Turner's WTCG and on cable several times. Although the complete, unedited version of the film was scheduled to be shown on American television for the first time on February 13, 2011, by Turner Classic Movies, with a broadcast window of 2-1/2 hours, it was pulled and the 100 minute edited version was presented later, on Sunday, February 27. However, the full-length version was finally shown on Turner Classic Movies on March 13, 2011. This marked the first time that the complete unedited version had ever been shown on American television. It has now been shown several times by TCM and appears to have supplanted the edited version.
Differences between complete and edited versions[edit]
There are several differences between the full-length roadshow version of the film and the edited general release version.
One that is immediately noticeable is that there is actually a snippet from Joan's trial during the opening narration in the edited version, whereas in the full-length version, the events of Joan's life are shown in chronological order. The narration is more detailed in the edited version than in the complete version, with much of it used to cover the breaks in continuity caused by the severe editing.
The edited version omits crucial scenes that are important to a psychological understanding of the narrative, such as the mention of a dream that Joan's father has which foretells of Joan's campaign against the English. When Joan hears of the dream, she becomes convinced that she has been divinely ordered to drive the English out of France.
Most of the first ten minutes of the film, a section showing Joan praying in the Domrémy shrine, followed by a family dinner and conversation which leads to the mention of the dream, are not in the edited version.
In the complete 145-minute version, the narration is heard only at the beginning of the film, and there are no sudden breaks in continuity.
Entire characters, such as Joan's father (played by Robert Barrat) and Father Pasquerel (played by Hurd Hatfield) are partially or totally omitted from the edited version.
Even the opening credits are somewhat different, and run about two minutes longer. In the edited version, the story begins after Victor Fleming's director's credit, while in the full-length version, after the director's credit, a title card saying "The Players" appears onscreen, after which all the major lead and supporting actors, as well as the characters that they play, are listed in order of appearance and in groups (e.g., "At Domrémy", "At Chinon", etc.), much as in Fleming's other lengthy film epic Gone with the Wind. More than thirty of the actors are listed.
The edited version might be considered more cinematic through its use of maps and voice-over narration to explain the political situation in France. (In the full-length version, Joan's family discusses the political situation during dinner.) The full-length version, although not presented as a play-within-a-play, as the stage version was, nevertheless resembles a stage-to-film adaptation, makes great use of Maxwell Anderson's original dialogue, and may seem, to some, stagy in its method of presentation, despite having a realistic depiction of the Siege of Orléans.
See also[edit]
The Passion of Joan of Arc, an earlier 1928 film by Carl Theodor Dreyer
List of historical drama films
References[edit]
1.^ Jump up to: a b c Matthew Bernstein, Walter Wagner: Hollywood Independent, Minnesota Press, 2000 p444
2.Jump up ^ Notorious: The Life of Ingrid Bergman - Donald Spoto - Google Boeken
3.Jump up ^ Higham, Charles; Greenberg, Joel (1968). Hollywood in the Forties. London: A. Zwemmer Limited. p. 112. ISBN 0-302-00477-7.
4.Jump up ^ Victor Fleming: An American Movie Master: Michael Sragow: 9780375407482: Amazon.com: Books
5.Jump up ^ dOc DVD Review: Joan of Arc (1948)
6.Jump up ^ The DVD Journal | Quick Reviews: Joan of Arc
7.Jump up ^ Joan of Arc : DVD Talk Review of the DVD Video
8.Jump up ^ Joan of Arc : DVD Talk Review of the DVD Video
9.Jump up ^ "NY Times: Joan of Arc". NY Times. Retrieved 2008-12-20.
10.Jump up ^ Nat Segaloff, Final Cuts: The Last Films of 50 Great Directors, Bear Manor Media 2013 p 98-99
11.Jump up ^ Crowther, Bosley (November 12, 1948). "Ingrid Bergman Plays Title Role in 'Joan of Arc' at Victoria -Two Other Films Arrive". The New York Times.
12.Jump up ^ http://www.time.com/time/magazine/article/0,9171,853456,00.html>
13.Jump up ^ Leonard Maltin's 2009 Movie Guide (Leonard Maltin's Movie Guide (Mass Market)): Leonard Maltin: 9780451224682: Amazon.com: Books
External links[edit]
 Wikimedia Commons has media related to Joan of Arc (1948 film).
Joan of Arc at the Internet Movie Database


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Joan of Arc (miniseries)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Joan of Arc
JoanofArcFilm1999.jpg
DVD cover for the film

Distributed by
CBC (Canada)
CBS (USA)
Directed by
Christian Duguay
Produced by
Peter Bray
Written by
Michael Alexander Miller
Ronald Parker
Starring
Leelee Sobieski
Peter O'Toole
Jacqueline Bisset
Powers Boothe
Music by
Asher Ettinger
Charlotte Church
 (special vocals)
Cinematography
Pierre Gill
Editing by
Ralph Brunjes
Country
United States
Language
English
Release date
May 15, 1999

Running time
140 minutes (180 minutes - uncut version)
Joan of Arc is a 1999 two-part television miniseries about the 15th century Catholic saint of the same name. The film stars Leelee Sobieski as Saint Joan. A joint production of the Canadian Broadcasting Corporation and Alliance Atlantis Communications, the film was shown internationally in 1999.
The miniseries received thirteen Primetime Emmy Awards nominations and four Golden Globe Award nominations.


Contents  [hide]
1 Plot
2 Cast
3 Awards and nominations
4 See also
5 External links

Plot[edit]
[icon] This section requires expansion. (November 2014)
The miniseries tells the story of Joan of Arc, from her birth in 1412 until her death in 1431.
Joan of Arc is born in 1412 in the village of Domrémy in the war zone of Northern France. During her youth she often witnesses the horrors of war, but her spirit is kept high by the legend of the Maiden of Lorraine. This says that a young maiden one day will unite the divided country and lead the people to freedom.
Cast[edit]
Leelee Sobieski as Joan d'Arc
Jacqueline Bisset as Isabelle d'Arc
Powers Boothe as Jacques d'Arc
Neil Patrick Harris as King Charles VII of France
Maury Chaykin as Sir Robert de Baudricourt
Olympia Dukakis as Mother Babette
Jonathan Hyde as John Plantagenet, Duke of Bedford
Robert Loggia as Father Monet
Shirley MacLaine as Madame de Beaurevoir
Peter O'Toole as Bishop Pierre Cauchon
Maximilian Schell as Brother Jean le Maistre
Peter Strauss as La Hire
Chad Willett as Jean de Metz
Ron White as Jean de Dunois
Jaimz Woolvett as Philip III, Duke of Burgundy
Ted Atherton as Jean d'Estivet
Robert Haley as Georges de la Trémoille
Chandra Engstrom as Young Joan
Awards and nominations[edit]

Year
Association
Category
Nominee(s)
Result

1999 Primetime Emmy Awards Outstanding Art Direction for a Miniseries or a Movie Michael Joy, Shannon Grover, Martin Martinec Nominated
Outstanding Casting for a Miniseries, Movie, or a Special Deirdre Bowen, Susan Glicksman, Fern Orenstein Nominated
Outstanding Costumes for a Miniseries, Movie or a Special John Hay Nominated
Outstanding Directing for a Miniseries, Movie or a Dramatic Special Christian Duguay Nominated
Outstanding Lead Actress in a Miniseries or a Movie Leelee Sobieski Nominated
Outstanding Miniseries Joan of Arc Nominated
Outstanding Supporting Actor in a Miniseries or a Movie Peter O'Toole Won
Outstanding Supporting Actress in a Miniseries or a Movie Jacqueline Bisset Nominated
Olympia Dukakis Nominated
Television Critics Association Awards Outstanding Achievement in Movies, Miniseries and Specials  Won
2000 Golden Globe Awards Best Miniseries or Television Film Joan of Arc Nominated
Best Actress – Miniseries or Television Film Leelee Sobieski Nominated
Best Supporting Actor – Series, Miniseries or Television Film Peter O'Toole Nominated
Best Supporting Actress – Series, Miniseries or Television Film Jacqueline Bisset Nominated
Satellite Awards Best Actress – Miniseries or Television Film Leelee Sobieski Nominated
Best Miniseries Joan of Arc Nominated

See also[edit]
List of historical drama films
External links[edit]
Joan of Arc at the Internet Movie Database


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Films directed by Christian Duguay


Scanners II: The New Order (1991) ·
 Scanners III: The Takeover (1992) ·
 Live Wire (1992) ·
 Snowbound: The Jim and Jennifer Stolpa Story (1994) ·
 Million Dollar Babies (1994) ·
 Screamers (1995) ·
 The Assignment (1997) ·
 Joan of Arc (1999) ·
 The Art of War (2000) ·
 Extreme Ops (2002) ·
 Hitler: The Rise of Evil (2003) ·
 Lies My Mother Told Me (2005) ·
 Boot Camp (2007) ·
 Coco Chanel (2008)
 




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Categories: English-language films
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1990s adventure films
CBC Television shows
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Films about Joan of Arc
Films directed by Christian Duguay (director)
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Joan of Arc (miniseries)

From Wikipedia, the free encyclopedia

Jump to: navigation, search


Joan of Arc
JoanofArcFilm1999.jpg
DVD cover for the film

Distributed by
CBC (Canada)
CBS (USA)
Directed by
Christian Duguay
Produced by
Peter Bray
Written by
Michael Alexander Miller
Ronald Parker
Starring
Leelee Sobieski
Peter O'Toole
Jacqueline Bisset
Powers Boothe
Music by
Asher Ettinger
Charlotte Church
 (special vocals)
Cinematography
Pierre Gill
Editing by
Ralph Brunjes
Country
United States
Language
English
Release date
May 15, 1999

Running time
140 minutes (180 minutes - uncut version)
Joan of Arc is a 1999 two-part television miniseries about the 15th century Catholic saint of the same name. The film stars Leelee Sobieski as Saint Joan. A joint production of the Canadian Broadcasting Corporation and Alliance Atlantis Communications, the film was shown internationally in 1999.
The miniseries received thirteen Primetime Emmy Awards nominations and four Golden Globe Award nominations.


Contents  [hide]
1 Plot
2 Cast
3 Awards and nominations
4 See also
5 External links

Plot[edit]
[icon] This section requires expansion. (November 2014)
The miniseries tells the story of Joan of Arc, from her birth in 1412 until her death in 1431.
Joan of Arc is born in 1412 in the village of Domrémy in the war zone of Northern France. During her youth she often witnesses the horrors of war, but her spirit is kept high by the legend of the Maiden of Lorraine. This says that a young maiden one day will unite the divided country and lead the people to freedom.
Cast[edit]
Leelee Sobieski as Joan d'Arc
Jacqueline Bisset as Isabelle d'Arc
Powers Boothe as Jacques d'Arc
Neil Patrick Harris as King Charles VII of France
Maury Chaykin as Sir Robert de Baudricourt
Olympia Dukakis as Mother Babette
Jonathan Hyde as John Plantagenet, Duke of Bedford
Robert Loggia as Father Monet
Shirley MacLaine as Madame de Beaurevoir
Peter O'Toole as Bishop Pierre Cauchon
Maximilian Schell as Brother Jean le Maistre
Peter Strauss as La Hire
Chad Willett as Jean de Metz
Ron White as Jean de Dunois
Jaimz Woolvett as Philip III, Duke of Burgundy
Ted Atherton as Jean d'Estivet
Robert Haley as Georges de la Trémoille
Chandra Engstrom as Young Joan
Awards and nominations[edit]

Year
Association
Category
Nominee(s)
Result

1999 Primetime Emmy Awards Outstanding Art Direction for a Miniseries or a Movie Michael Joy, Shannon Grover, Martin Martinec Nominated
Outstanding Casting for a Miniseries, Movie, or a Special Deirdre Bowen, Susan Glicksman, Fern Orenstein Nominated
Outstanding Costumes for a Miniseries, Movie or a Special John Hay Nominated
Outstanding Directing for a Miniseries, Movie or a Dramatic Special Christian Duguay Nominated
Outstanding Lead Actress in a Miniseries or a Movie Leelee Sobieski Nominated
Outstanding Miniseries Joan of Arc Nominated
Outstanding Supporting Actor in a Miniseries or a Movie Peter O'Toole Won
Outstanding Supporting Actress in a Miniseries or a Movie Jacqueline Bisset Nominated
Olympia Dukakis Nominated
Television Critics Association Awards Outstanding Achievement in Movies, Miniseries and Specials  Won
2000 Golden Globe Awards Best Miniseries or Television Film Joan of Arc Nominated
Best Actress – Miniseries or Television Film Leelee Sobieski Nominated
Best Supporting Actor – Series, Miniseries or Television Film Peter O'Toole Nominated
Best Supporting Actress – Series, Miniseries or Television Film Jacqueline Bisset Nominated
Satellite Awards Best Actress – Miniseries or Television Film Leelee Sobieski Nominated
Best Miniseries Joan of Arc Nominated

See also[edit]
List of historical drama films
External links[edit]
Joan of Arc at the Internet Movie Database


[hide]
v ·
 t ·
 e
 
Films directed by Christian Duguay


Scanners II: The New Order (1991) ·
 Scanners III: The Takeover (1992) ·
 Live Wire (1992) ·
 Snowbound: The Jim and Jennifer Stolpa Story (1994) ·
 Million Dollar Babies (1994) ·
 Screamers (1995) ·
 The Assignment (1997) ·
 Joan of Arc (1999) ·
 The Art of War (2000) ·
 Extreme Ops (2002) ·
 Hitler: The Rise of Evil (2003) ·
 Lies My Mother Told Me (2005) ·
 Boot Camp (2007) ·
 Coco Chanel (2008)
 




Stub icon This article related to a Canadian TV movie is a stub. You can help Wikipedia by expanding it.




  


Categories: English-language films
1999 television films
Canadian television films
Canadian drama films
1990s adventure films
CBC Television shows
Films shot in the Czech Republic
Films about Joan of Arc
Films directed by Christian Duguay (director)
Canadian television film stubs







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The Passion of Joan of Arc

From Wikipedia, the free encyclopedia

Jump to: navigation, search


The Passion of Joan of Arc
The Passion of Joan of Arc (1928) English Poster.png
Theatrical poster

Directed by
Carl Theodor Dreyer
Written by
Joseph Delteil
 Carl Theodor Dreyer
Starring
Renée Jeanne Falconetti
Eugène Silvain
André Berley
Maurice Schutz
Cinematography
Rudolph Maté
Edited by
Marguerite Beaugé
 Carl Theodor Dreyer
Distributed by
Société Générale des Films

Release dates

21 April 1928 (Denmark)
25 October 1928 (France)


Running time
 110 minutes
 82 minutes (restored version)
Country
France
Language
Silent film
 French intertitles
The Passion of Joan of Arc (French: La Passion de Jeanne d'Arc) is a 1928 silent French film based on the actual record of the trial of Joan of Arc. The film was directed by Carl Theodor Dreyer and stars Renée Jeanne Falconetti as Joan. It is widely regarded as a landmark of cinema,[1] especially for its production, Dreyer's direction and Falconetti's performance, which has been described as being among the finest in cinema history. The film summarizes the time that Joan of Arc was a captive of England.[2] It depicts her trial and execution.
Danish film director Dreyer was invited to make a film in France by the Société Générale des Films and chose to make a film about Joan of Arc due to her renewed popularity in France. Dreyer spent over a year researching Joan of Arc and the transcripts of her trial before writing the script. Dreyer cast stage actress Falconetti as Joan in her only major film role. Falconetti's performance and devotion to the role during filming have become legendary among film scholars.
The film was shot on one huge concrete set modeled on medieval architecture in order to realistically portray the Rouen prison. The film is known for its cinematography and use of close-ups. Dreyer also didn't allow the actors to wear make-up and used lighting designs that made the actors look more grotesque.
The film was controversial before its release due to conservative French nationalists being skeptical of the Danish Dreyer making a film about a French historical icon. Dreyer's final version of the film was cut down due to pressure from the Archbishop of Paris and from government censors. For several decades it was released and viewed in several re-edited versions that attempted to restore Dreyer's final cut. In 1981 a film print of Dreyer's final cut of the film was discovered in a mental institution in Oslo, Norway and re-released.
Despite the objections and cutting of the film by clerical and government authorities, it was a critical success when first released and has consistently been considered one of the greatest films ever made since 1928. It has been praised and referenced to by many film directors and musicians.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Background and writing
3.2 Casting
3.3 Cinematography
3.4 Art direction
4 Release and different versions 4.1 Rediscovery of original version
5 Reception
6 Legacy 6.1 Music
7 See also
8 Notes
9 References
10 External links

Plot[edit]
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 May 30, 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, she soon recants and is publicly executed.[3]
Cast[edit]
Renée Jeanne Falconetti as Jeanne d'Arc
Eugène Silvain as Évêque Pierre Cauchon
André Berley as Jean d'Estivet, the prosecutor
Maurice Schutz as Nicolas Loyseleur, a canon
Antonin Artaud as Jean Massieu, the Dean of Rouen
Gilbert Dalleu as Jean Lemaitre, the Vice-Inquisitor
Jean d'Yd as Nicolas de Houppeville
Louis Ravet as Jean Beaupère (as Ravet)
Michel Simon as a Judge[a]
Paul Fromet as a Judge
Armand Lurville as a Judge
Camille Bardou as Lord Warwick, the English Captain in Rouen
Jacques Arnna as a Judge
Alexandre Mihalesco as a Judge
Raymond Narlay as a Judge
Henry Maillard as a Judge
Léon Larive as a Judge
Henry Gaultier as a Judge
Paul Jorge as a Judge
Production[edit]
Background and writing[edit]
After the success of Master of the House in Denmark, Dreyer was invited to make a film in France by the Société Gėnėrale des Films and proposed a film about either Marie Antoinette, Catherine de Medici or Joan of Arc. He later claimed that the final decision on the film's subject matter was determined by drawing matches. Joan of Arc was in the news in France after World War I, having been canonised as a saint of the Roman Catholic Church in 1920 and adopted as one of the patron saints of France.[4] Dreyer spent over a year and a half researching Joan for the film, and the script was based on the original transcripts of Joan's trial and execution, condensing 29 interrogations over the course of 18 months into one scene.[5] The transcripts of the trial had been published in 1921 by editor Pierre Champion and were the main basis of Dreyer's script. The rights to Joseph Delteil's 1925 book on Joan of Arc were also purchased for the production, but nothing from Delteil's book was used in the finished film. However, at the film's premiere Delteil was partially credited as a source.[6]
Casting[edit]
This was star Renée Jeanne Falconetti's second and last film role,[7] despite achieving iconic status in film history almost immediately. Falconetti always preferred the theater to film and never understood the positive reaction to the film.[8] Dreyer went to see Falconetti backstage at a performance of Victor Margueritte's La Garçonne,[8] a comedic play that she was appearing in. Dreyer wasn't initially impressed with her, but when he went to see her again the next day he "felt there was something in her which could be brought out; something she could give, something, therefore, I could take. For behind the make-up, behind the pose and that ravishing modern appearance, there was something. There was a soul behind that facade."[9] Dreyer asked her to do some screen tests the next day, but without any make-up. During the tests, Dreyer "found in her face exactly what I wanted for Joan: a country girl, very sincere, but also a woman of suffering."[10] Dreyer then told Falconetti about the film and her role in great detail and Falconetti agreed to star in the film, but secretly hoped that she would not have to cut her hair or go without make-up.[8]
Jean Renoir praised her performance and said "That shaven head was and remains the abstraction of the whole epic of Joan of Arc." She was famously treated harshly by Dreyer, who had a reputation for being a tyrannical director. Dreyer would always clear the set whenever Falconetti needed to act in a particularly emotional or important scene, allowing her to focus without any distractions. Dreyer often had difficulties explaining himself to Falconetti and was known to turn bright red and begin stammering when passionately directing her.[11] Dreyer had stated that a director "must be careful never to force his own interpretation on an actor, because an actor cannot create truth and pure emotions on command. One cannot push feelings out. They have to arise from themselves, and it is the director's and actor's work in unison to bring them to that point."[5] Later in post-production, Falconetti was the only cast member to watch the rushes and stay involved in the film while it was being edited.[8] According to film critic Roger Ebert:

For Falconetti, the performance was an ordeal. Legends from the set tell of Dreyer forcing her to kneel painfully on stone and then wipe all expression from her face—so that the viewer would read suppressed or inner pain. He filmed the same shots again and again, hoping that in the editing room he could find exactly the right nuance in her facial expression.[12]
Among the other cast members was French playwright Antonin Artaud as the monk Massieu. Artaud later stated that the film was meant to "reveal Joan as the victim of one of the most terrible of all perversions: the perversion of a divine principle in its passage through the minds of men, whether they be Church, Government or what you will."[13]
Cinematography[edit]



Falconetti in a scene from the film. Dreyer dug holes in the set to achieve the low camera angles seen here.
What especially stood out at the time when The Passion of Joan of Arc was made was the film's camera work and emphasis on the actors' facial features. Dreyer shot a great deal of the film in close-up, stating that "There were questions, there were answers- very short, very crisp... Each question, each answer, quite naturally called for a close-up... In addition, the result of the close-ups was that the spectator was as shocked as Joan was, receiving the questions, tortured by them."[5] Dreyer also did not allow his actors to wear makeup,[14] the better to tell the story through their expressions—this choice was made possible through use of the recently developed panchromatic film,[12] which recorded skin tones in a naturalistic manner. Dreyer often shot the priests and Joan's other interrogators in high contrast lighting, but then shot Joan in soft, even lighting.[15] Rudolph Maté's high-contrast cinematography also allowed the details in people's faces, including warts and lumps, to be grotesquely visible. Dreyer also used many low angle shots of Joan's persecutors in order to make them seem more monstrous and intimidating, and several holes were dug on the set for the camera to get the appropriate angle, causing the crew to nickname him "Carl Gruyére".[5] Dreyer also shot the film "from the first to the last scene ... in the right order."[14]
Art direction[edit]
The film had one of the most expensive sets ever built for a European film up to that time.[16] Dreyer was given a seven million franc budget. He constructed an enormous octagonal concrete set to depict Rouen Castle. Production designers Hermann Warm and Jean Hugo were inspired by medieval miniatures for their designs, adding unnatural angles and perspectives to add to Joan's emotional state of mind.[5] They also relied on medieval manuscripts with accurate architectural drawings, such as John Mandeville's Livre de Merveilles.[17] The huge set was built as one complete, interconnecting structure instead of in separate locations. The castle had towers in all four corners with concrete walls running along the sides. Each wall was 10 centimeters thick so that they could support the weight of actors, technicians and equipment.[17] A functional drawbridge was also built into one of the walls. Inside the walls were small houses, the courtyard where the burning took place and a cathedral. The entire set was painted pink so that it would appear grey in the black and white film and contrast against the white sky above it. Despite all of the detail put into the set, only segments of it are ever visible in the film,[18] which later angered the film's producers since so much money was spent on the set. Hermann Warm's original models for the film's set are currently stored at the Danish Film Institute Archives.[17]
Release and different versions[edit]
The Passion of Joan of Arc debuted on April 21, 1928 at the Palads Teatret cinema in Copenhagen. After a few private screenings, it finally premiered in Paris on October 25, 1928 at the Cinema Marivaux. The film was delayed because of persistent efforts of many French nationalists who objected to the fact that Dreyer was not Catholic and not French and to the then-rumored casting of Lillian Gish as Joan. As early as January 1927, Jean-Jose Frappa said that "whatever the talent of the director (and he has it)...he cannot give us a Joan of Arc in the true French tradition. And the American 'star'...cannot be our Joan, wholesome, lively, shining with purity, faith, courage and patriotism. To let this be made in France would be a scandalous abdication of responsibility."[19] Before its French premiere, several cuts were made by order of the Archbishop of Paris and by government censors. Dreyer had no say in these cuts and was angry about them. Later that year on December 6, a fire at UFA studios in Berlin destroyed the film's original negative and only a few copies of Dreyer's original cut of the film existed. Dreyer was able to patch together a new version of his original cut using alternate takes not initially used. This version was also destroyed in a lab fire in 1929. Over the years, it became hard to find copies of Dreyer's second version and even harder to find copies of the original version.[19]
It was re-released in 1933 in a 61 minute version without any intertitles and including a new narration by radio star David Ross. In 1951, Joseph-Marie Lo Duca found a copy of the negative of Dreyer's second version in the Gaumont Studios vaults. Lo Duca then made several significant changes, including a new musical score by Bach, Albinoni and Vivaldi, removing many of the intertitles and replacing some with subtitles. Lo Duca's version was the only available one for many years. Dreyer objected to this version and said that it was in bad taste.[19]
The next version of the film was made by Arnie Krogh of the Danish Film Institute. Krogh cut together scenes and sequences from several different available prints to attempt to create a version that was as true to Dreyer's original cut as possible.[19]
Rediscovery of original version[edit]
The original version was lost for decades after a fire destroyed the master negative and only variations of Dreyer's second version were available. In 1981, an employee of the Dikemark Hospital mental institution in Oslo found several film canisters in a janitor's closet that were labeled as being The Passion of Joan of Arc.[1] The canisters were sent to the Norwegian Film Institute where they were first stored for three years until finally being examined. It was then discovered that they were Dreyer's original cut prior to government or church censorship. There were never any records of the film being shipped to Oslo, but film historians believe that the then director of the institution may have requested a special copy since he was also a published historian.[19]
Reception[edit]
On its initial release, the film was a critical success and immediately called a masterpiece. It was also a huge financial flop and caused the Société Générale to cancel its contract with Dreyer after the failure of this film and of Abel Gance's Napoléon. Dreyer angrily accused the Société Générale of mutilating the film so as to avoid offending Catholic viewers and sued them for breach of contract. The lawsuit went on until the fall of 1931, during which time Dreyer was unable to make another film.[5] It was banned in Britain for its portrayal of crude English soldiers who mock and torment Joan in scenes that mirror biblical accounts of Christ's mocking at the hands of Roman soldiers. The Archbishop of Paris was also critical, demanding changes be made to the film.[20]
The New York Times film reviewer Mordaunt Hall raved:

... as a film work of art this takes precedence over anything that has so far been produced. It makes worthy pictures of the past look like tinsel shams. It fills one with such intense admiration that other pictures appear but trivial in comparison.[20]
Of the star, he wrote, "... it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement."[20] However Variety gave the film a negative review on its initial release, calling it "a deadly tiresome picture."[21] In 1929 The National Board of Review named the film one of the best foreign films of the year.[22]
Legacy[edit]
The film and Falconetti's performance have continued to be praised by critics throughout the years. Pauline Kael wrote that Falconetti's portrayal "may be the finest performance ever recorded on film."[1][7] Roger Ebert praised the film and said that "You cannot know the history of silent film unless you know the face of Renee Maria Falconetti."[23] Jean Sémolué called it "a film of confrontation" and Paul Schrader has praised "the architecture of Joan's world, which literally conspires against her; like the faces of her inquisitors, the halls, doorways, furniture are on the offensive, striking, swooping at her with oblique angles, attacking her with hard-edged chunks of black and white."[5] Jonathan Rosenbaum has praised "Dreyer's radical approach to constructing space and the slow intensity of his mobile style make[s] this “difficult” in the sense that, like all the greatest films, it reinvents the world from the ground up."[24]
Some critics have found faults in the film, and Paul Rotha called it "one of the most remarkable productions ever realized in the history and development of cinema, but it was not a full exposition of real filmic properties". Tom Milne stated that "somehow the style Dreyer found for the film seems irremediably false. Instead of flowing naturally from his chosen materials...it seems imposed upon them...Throughout the film there is a constant stylistic uncertainty, an impurity, which jars heavily today," but adds that "Jeanne d'Arc has a majestic power which steamrollers its way through all its faults and excesses."[5]
The Passion of Joan of Arc has appeared on Sight & Sound magazine's top ten films poll five times: as number seven in 1952[25] and 1972,[26] and as number ten (Critic's List) and six (Director's List) in 1992[27] and as number nine in 2012 (Critic's List).[28] It ranked thirty-seventh on the Director's List in 2012 and was listed by such filmmakers as Manoel de Oliveira, Atom Egoyan, Tsai Ming-Liang, Walter Salles, Béla Tarr, Michael Mann,[29] who called it "Human experience conveyed purely from the visualisation of the human face: no one else has composed and realised human beings quite like Dreyer in The Passion of Joan of Arc",[30] and Kutlug Ataman, who said the film "taught me film could be just poetry and timeless."[31] The Village Voice ranked it the eighth of the twentieth century in a 2000 poll of critics.[32] In 2010, the Toronto International Film Festival released its "Essential 100" list of films, which merged one list of the 100 greatest films of all time as determined by an expert panel of TIFF curators with another list determined by TIFF stakeholders. The Passion of Joan of Arc was ranked as the most influential film of all time.[undue weight? – discuss][33][34] Her performance was ranked 26th in Premiere Magazine's 100 Greatest Performances of All Time,[35] the highest of any silent performance on the list.
Scenes from the film appear in Jean-Luc Godard's Vivre sa Vie (1962), in which the protagonist Nana sees the film at a cinema and identifies with Joan. In Henry & June, Henry Miller is shown watching the last scenes of the film and in voice-over narrates a letter to Anaïs Nin comparing her to Joan and himself to the "mad monk" character played by Antonin Artaud.
Music[edit]
Music for the film was played live in the theatre and there is no evidence that Dreyer ever selected a definitive score. Numerous composers have contributed scores for this film.
In 1988, the Dutch composer Jon van den Booren wrote a modern score for symphony orchestra.[36]
In 1994, composer Richard Einhorn wrote an oratorio based on the film entitled "Voices of Light". This piece is now available as an optional accompaniment on the Criterion Collection's DVD release.[37]
On 27 August 1995, Nick Cave and the Dirty Three played a live soundtrack to the film at the National Film Theatre in London.[38]
In 1999, American singer/songwriter Cat Power provided musical accompaniment at several screenings of the film in the U.S.[39]
In 2003, American ambient guitarist Rob Byrd performed a live score to the film at the Burning Man Festival in Nevada's Black Rock Desert. Subsequent live score performances took place in May 2004 at the Red Tail Loft in Boston, April 2008 at Monkeytown in Brooklyn, and November 2010 at the Lyndsay Chapel in Cambridge, Massachusetts.[40]
In 2003, Norwegian electronic music act Ugress released a limited edition CD entitled "La Passion De Jeanne D'Arc: Soundtrack to a silent movie."[41]
On 16 April 2008, neo-classical/martial electronica group In The Nursery premiered a new sound track for the film at Sheffield Cathedral.[42]
Danish composer Jesper Kyd was commissioned by Danish Film Festival founders Christian Ditlev Bruun and Lene Pels Jorgensen to provide a new score for the Danish Film Festival: Los Angeles.[43]
In 2009, the Estonian composer Tõnu Kõrvits wrote a score for small orchestra (for L´Ensemble De Basse-Normandie 2009/10 concert season) for this film.[44]
In 2009, the Lithuanian composer Bronius Kutavičius wrote a score for chamber orchestra (for St. Christopher Chamber Orchestra), which was performed in Scanorama – European film forum in Vilnius.[45]
In 2010, American electronic/chamber composer/arranger George Sarah provided an original score along with a string quartet and choir featuring members of the LA Master Chorale at a screening of the film in Los Angeles.[46]
In 2010, Canadian composer Stefan Smulovitz wrote a score for string quartet, brass, percussion, pipe organ, and solo voice, which premiered at the PuSh International Performing Arts Festival in Vancouver, BC.[47]
On 7 May 2010, a score by Adrian Utley and Will Gregory premièred at the Colston Hall in Bristol. It was a collaboration between Utley, Gregory, the Colston Hall and the Watershed Media Centre.[48]
On 14 April 2011, indie rock outfit Joan of Arc accompanied this film at Chicago International Movies & Music Fest (CIMM Fest).[49]
By the end of September 2014, Matthew Jones (violin) and Jonathan Slaatto (cello) from Danish Ensemble MidtVest, in collaboration with silent film pianist Ronen Thalmay and oboist Henrik Goldschmidt, accompanied this film by the means of free improvisation. Performances were held in Copenhagen (September 23rd), Sdr. Felding (September 26th), Holstebro (September 27th), and Århus (September 29th).[50]
On January 9th 2015, hazards of swimming naked performed an original score accompaniment to a sold out screening of the film at the Queensland Gallery of Modern Art [51] as part of the Cinematheque's "Myth's and Legends" programme.
See also[edit]
Cultural depictions of Joan of Arc
List of historical drama films
List of films considered the best
Trial movies
Notes[edit]
a.Jump up ^ Simon, best known for Boudu Saved from Drowning and L'Atalante, is visible for two brief moments only.
References[edit]
1.^ Jump up to: a b c The Criterion Collection: Passion of Joan of Arc, The – Synopsis by Anonymous. Retrieved 22 March 2007.
2.Jump up ^ DVD commentary by Casper Tybjerg, Associate Professor of Film Studies at the Department of Media, Cognition and Communication at the University of Copenhagen.
3.Jump up ^ Dreyer, Carl Theodor. Four Screenplays. Bloomington & London: Indiana University Press. 1970. ISBN 0-253-12740-8. pp. 27-76.
4.Jump up ^ Wakeman, John. World Film Directors, Volume 1." The H. W. Wilson Company. 1987. p. 268. ISBN ISBN 0-8242-0757-2.
5.^ Jump up to: a b c d e f g h Wakeman. p. 268.
6.Jump up ^ Dreyer. p. 21.
7.^ Jump up to: a b Kael, Pauline (1982). 5001 Nights At the Movies. Holt, Rinehart and Winston, New York. p. 449. ISBN 0-03-042606-5.
8.^ Jump up to: a b c d Criterion. Interview with Hélène Falconetti.
9.Jump up ^ Milne. p. 95.
10.Jump up ^ Milne. pp. 95-96.
11.Jump up ^ Milne. p. 97.
12.^ Jump up to: a b Ebert, Roger (February 16, 1997). "The Passion of Joan of Arc (1928)". rogerebert.com. Retrieved September 9, 2010.
13.Jump up ^ Milne. pp. 106-107.
14.^ Jump up to: a b Carl Theodor Dreyer. "Realized Mysticism in The Passion of Joan of Arc". Danish Film Institute (reprinted by The Criterion Collection). Retrieved 8 September 2010.
15.Jump up ^ Milne. p. 103.
16.Jump up ^ The Criterion Collection. The Passion of Joan of Arc DVD. Special features: Production design. 1999.
17.^ Jump up to: a b c Criterion. Production design.
18.Jump up ^ Milne, Tom. The Cinema of Carl Dreyer. New York: A. S. Barnes & Co. 1971. SBN 498-07711-X. p. 94.
19.^ Jump up to: a b c d e Criterion. Version History.
20.^ Jump up to: a b c Mordaunt Hall (March 31, 1929). "The Passion of Joan of Arc (1928)". The New York Times.
21.Jump up ^ "Review: ‘Le Passion de Jeanne D’Arc’". Variety (magazine). Retrieved 2014-11-28.
22.Jump up ^ "The Passion of Joan of Arc (1928)". The New York Times. Retrieved 2014-11-28.
23.Jump up ^ "The Passion of Joan of Arc". rogerebert.com. Retrieved 2014-06-08.
24.Jump up ^ "The Passion of Joan of Arc". The Chicago Reader. Retrieved 2014-06-08.
25.Jump up ^ "The Sight & Sound Top Ten Poll: 1952". Sight & Sound. Retrieved 2008-02-24.
26.Jump up ^ "The Sight & Sound Top Ten Poll: 1972". Sight & Sound. Retrieved 2008-02-24.
27.Jump up ^ "The Sight & Sound Top Ten Poll: 1992". Sight & Sound. Retrieved 2008-02-24.
28.Jump up ^ http://www.bfi.org.uk/news/50-greatest-films-all-time
29.Jump up ^ "Joan of Arc". Sight & Sound. Retrieved 2014-11-28.
30.Jump up ^ "Michael Mann". Sight & Sound. Retrieved 2014-11-28.
31.Jump up ^ "Kutlug Ataman". Sight & Sound. Retrieved 2014-11-28.
32.Jump up ^ 100 Best Films – Village Voice. Filmsite.org (4 January 2000). Retrieved 5 June 2012.
33.Jump up ^ "TIFF Essential 100". 22 December 2010. Retrieved 22 December 2010.
34.Jump up ^ "Dreyer film voted most influential". Copenhagen Post. 22 September 2010. Retrieved 26 September 2010.
35.Jump up ^ Premiere Magazine's 100 Greatest Performances of All Time. Listology (14 March 2006). Retrieved 5 June 2012.[unreliable source?]
36.Jump up ^ Jo van den Booren. Jovandenbooren.nl. Retrieved 5 June 2012.
37.Jump up ^ Moving Pictures: Chorus Performs Dramatic Oratorio for Classic Film. Category: Arts & Events from. The Berkeley Daily Planet. Retrieved 5 June 2012.
38.Jump up ^ Nick Cave Collector's Hell 1977-2011 Nick Cave Fan Site. Retrieved June 8, 2014.
39.Jump up ^ Chan Marshall interview. Kinda Muzik site. Retrieved June 8, 2014.
40.Jump up ^ "The Passion of Joan of Arc" Live Score Performance boston.com. Retrieved June 8, 2014.
41.Jump up ^ Ugress website ugress.com. Retrieved June 8, 2014.
42.Jump up ^ In the Nursery website inthenursery.com. Retrieved June 8, 2014.
43.Jump up ^ Jesper Kyd Online. Jesperkyd.com. Retrieved 5 June 2012.
44.Jump up ^ Estonian Composer Union website. helilooja.ee. June 8, 2014.
45.Jump up ^ Berg Orchestra website. www.berg.cz. Retrieved June 8, 2014.
46.Jump up ^ Performing Arts Live website www.performingartslive.com. Retrieved June 8, 2014.
47.Jump up ^ http://www.stefansmulovitz.ca/StefanSmulovitz/Music.html
48.Jump up ^ The Passion of Joan of Arc. Colston Hall (7 May 2010). Retrieved 5 June 2012.
49.Jump up ^ Joan of Arc Website. www.joanofarcband.com. Retrieved June 8, 2014.
50.Jump up ^ Ensemble MidtVest, 'Jeanne d'Arcs Lidelse og Død'. www.emv.dk. Retrieved October 3, 2014.
51.Jump up ^ http://qagoma.qtix.com.au/event/joan_of_ark_15.aspx
External links[edit]
The Passion of Joan of Arc at the Internet Movie Database
The Passion of Joan of Arc is available for free download at the Internet Archive
The Passion of Joan of Arc at Rotten Tomatoes
The Passion of Joan of Arc at AllMovie
Criterion Collection essay by Carl Theodor Dreyer
Voted No. 4 on The Arts and Faith Top 100 Films (2010)


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Categories: 1928 films
1920s historical films
Courtroom films
French films
French historical films
French silent films
Black-and-white films
Films about Joan of Arc
Films based on actual events
Films directed by Carl Theodor Dreyer









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The Passion of Joan of Arc

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The Passion of Joan of Arc
The Passion of Joan of Arc (1928) English Poster.png
Theatrical poster

Directed by
Carl Theodor Dreyer
Written by
Joseph Delteil
 Carl Theodor Dreyer
Starring
Renée Jeanne Falconetti
Eugène Silvain
André Berley
Maurice Schutz
Cinematography
Rudolph Maté
Edited by
Marguerite Beaugé
 Carl Theodor Dreyer
Distributed by
Société Générale des Films

Release dates

21 April 1928 (Denmark)
25 October 1928 (France)


Running time
 110 minutes
 82 minutes (restored version)
Country
France
Language
Silent film
 French intertitles
The Passion of Joan of Arc (French: La Passion de Jeanne d'Arc) is a 1928 silent French film based on the actual record of the trial of Joan of Arc. The film was directed by Carl Theodor Dreyer and stars Renée Jeanne Falconetti as Joan. It is widely regarded as a landmark of cinema,[1] especially for its production, Dreyer's direction and Falconetti's performance, which has been described as being among the finest in cinema history. The film summarizes the time that Joan of Arc was a captive of England.[2] It depicts her trial and execution.
Danish film director Dreyer was invited to make a film in France by the Société Générale des Films and chose to make a film about Joan of Arc due to her renewed popularity in France. Dreyer spent over a year researching Joan of Arc and the transcripts of her trial before writing the script. Dreyer cast stage actress Falconetti as Joan in her only major film role. Falconetti's performance and devotion to the role during filming have become legendary among film scholars.
The film was shot on one huge concrete set modeled on medieval architecture in order to realistically portray the Rouen prison. The film is known for its cinematography and use of close-ups. Dreyer also didn't allow the actors to wear make-up and used lighting designs that made the actors look more grotesque.
The film was controversial before its release due to conservative French nationalists being skeptical of the Danish Dreyer making a film about a French historical icon. Dreyer's final version of the film was cut down due to pressure from the Archbishop of Paris and from government censors. For several decades it was released and viewed in several re-edited versions that attempted to restore Dreyer's final cut. In 1981 a film print of Dreyer's final cut of the film was discovered in a mental institution in Oslo, Norway and re-released.
Despite the objections and cutting of the film by clerical and government authorities, it was a critical success when first released and has consistently been considered one of the greatest films ever made since 1928. It has been praised and referenced to by many film directors and musicians.


Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Background and writing
3.2 Casting
3.3 Cinematography
3.4 Art direction
4 Release and different versions 4.1 Rediscovery of original version
5 Reception
6 Legacy 6.1 Music
7 See also
8 Notes
9 References
10 External links

Plot[edit]
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 May 30, 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, she soon recants and is publicly executed.[3]
Cast[edit]
Renée Jeanne Falconetti as Jeanne d'Arc
Eugène Silvain as Évêque Pierre Cauchon
André Berley as Jean d'Estivet, the prosecutor
Maurice Schutz as Nicolas Loyseleur, a canon
Antonin Artaud as Jean Massieu, the Dean of Rouen
Gilbert Dalleu as Jean Lemaitre, the Vice-Inquisitor
Jean d'Yd as Nicolas de Houppeville
Louis Ravet as Jean Beaupère (as Ravet)
Michel Simon as a Judge[a]
Paul Fromet as a Judge
Armand Lurville as a Judge
Camille Bardou as Lord Warwick, the English Captain in Rouen
Jacques Arnna as a Judge
Alexandre Mihalesco as a Judge
Raymond Narlay as a Judge
Henry Maillard as a Judge
Léon Larive as a Judge
Henry Gaultier as a Judge
Paul Jorge as a Judge
Production[edit]
Background and writing[edit]
After the success of Master of the House in Denmark, Dreyer was invited to make a film in France by the Société Gėnėrale des Films and proposed a film about either Marie Antoinette, Catherine de Medici or Joan of Arc. He later claimed that the final decision on the film's subject matter was determined by drawing matches. Joan of Arc was in the news in France after World War I, having been canonised as a saint of the Roman Catholic Church in 1920 and adopted as one of the patron saints of France.[4] Dreyer spent over a year and a half researching Joan for the film, and the script was based on the original transcripts of Joan's trial and execution, condensing 29 interrogations over the course of 18 months into one scene.[5] The transcripts of the trial had been published in 1921 by editor Pierre Champion and were the main basis of Dreyer's script. The rights to Joseph Delteil's 1925 book on Joan of Arc were also purchased for the production, but nothing from Delteil's book was used in the finished film. However, at the film's premiere Delteil was partially credited as a source.[6]
Casting[edit]
This was star Renée Jeanne Falconetti's second and last film role,[7] despite achieving iconic status in film history almost immediately. Falconetti always preferred the theater to film and never understood the positive reaction to the film.[8] Dreyer went to see Falconetti backstage at a performance of Victor Margueritte's La Garçonne,[8] a comedic play that she was appearing in. Dreyer wasn't initially impressed with her, but when he went to see her again the next day he "felt there was something in her which could be brought out; something she could give, something, therefore, I could take. For behind the make-up, behind the pose and that ravishing modern appearance, there was something. There was a soul behind that facade."[9] Dreyer asked her to do some screen tests the next day, but without any make-up. During the tests, Dreyer "found in her face exactly what I wanted for Joan: a country girl, very sincere, but also a woman of suffering."[10] Dreyer then told Falconetti about the film and her role in great detail and Falconetti agreed to star in the film, but secretly hoped that she would not have to cut her hair or go without make-up.[8]
Jean Renoir praised her performance and said "That shaven head was and remains the abstraction of the whole epic of Joan of Arc." She was famously treated harshly by Dreyer, who had a reputation for being a tyrannical director. Dreyer would always clear the set whenever Falconetti needed to act in a particularly emotional or important scene, allowing her to focus without any distractions. Dreyer often had difficulties explaining himself to Falconetti and was known to turn bright red and begin stammering when passionately directing her.[11] Dreyer had stated that a director "must be careful never to force his own interpretation on an actor, because an actor cannot create truth and pure emotions on command. One cannot push feelings out. They have to arise from themselves, and it is the director's and actor's work in unison to bring them to that point."[5] Later in post-production, Falconetti was the only cast member to watch the rushes and stay involved in the film while it was being edited.[8] According to film critic Roger Ebert:

For Falconetti, the performance was an ordeal. Legends from the set tell of Dreyer forcing her to kneel painfully on stone and then wipe all expression from her face—so that the viewer would read suppressed or inner pain. He filmed the same shots again and again, hoping that in the editing room he could find exactly the right nuance in her facial expression.[12]
Among the other cast members was French playwright Antonin Artaud as the monk Massieu. Artaud later stated that the film was meant to "reveal Joan as the victim of one of the most terrible of all perversions: the perversion of a divine principle in its passage through the minds of men, whether they be Church, Government or what you will."[13]
Cinematography[edit]



Falconetti in a scene from the film. Dreyer dug holes in the set to achieve the low camera angles seen here.
What especially stood out at the time when The Passion of Joan of Arc was made was the film's camera work and emphasis on the actors' facial features. Dreyer shot a great deal of the film in close-up, stating that "There were questions, there were answers- very short, very crisp... Each question, each answer, quite naturally called for a close-up... In addition, the result of the close-ups was that the spectator was as shocked as Joan was, receiving the questions, tortured by them."[5] Dreyer also did not allow his actors to wear makeup,[14] the better to tell the story through their expressions—this choice was made possible through use of the recently developed panchromatic film,[12] which recorded skin tones in a naturalistic manner. Dreyer often shot the priests and Joan's other interrogators in high contrast lighting, but then shot Joan in soft, even lighting.[15] Rudolph Maté's high-contrast cinematography also allowed the details in people's faces, including warts and lumps, to be grotesquely visible. Dreyer also used many low angle shots of Joan's persecutors in order to make them seem more monstrous and intimidating, and several holes were dug on the set for the camera to get the appropriate angle, causing the crew to nickname him "Carl Gruyére".[5] Dreyer also shot the film "from the first to the last scene ... in the right order."[14]
Art direction[edit]
The film had one of the most expensive sets ever built for a European film up to that time.[16] Dreyer was given a seven million franc budget. He constructed an enormous octagonal concrete set to depict Rouen Castle. Production designers Hermann Warm and Jean Hugo were inspired by medieval miniatures for their designs, adding unnatural angles and perspectives to add to Joan's emotional state of mind.[5] They also relied on medieval manuscripts with accurate architectural drawings, such as John Mandeville's Livre de Merveilles.[17] The huge set was built as one complete, interconnecting structure instead of in separate locations. The castle had towers in all four corners with concrete walls running along the sides. Each wall was 10 centimeters thick so that they could support the weight of actors, technicians and equipment.[17] A functional drawbridge was also built into one of the walls. Inside the walls were small houses, the courtyard where the burning took place and a cathedral. The entire set was painted pink so that it would appear grey in the black and white film and contrast against the white sky above it. Despite all of the detail put into the set, only segments of it are ever visible in the film,[18] which later angered the film's producers since so much money was spent on the set. Hermann Warm's original models for the film's set are currently stored at the Danish Film Institute Archives.[17]
Release and different versions[edit]
The Passion of Joan of Arc debuted on April 21, 1928 at the Palads Teatret cinema in Copenhagen. After a few private screenings, it finally premiered in Paris on October 25, 1928 at the Cinema Marivaux. The film was delayed because of persistent efforts of many French nationalists who objected to the fact that Dreyer was not Catholic and not French and to the then-rumored casting of Lillian Gish as Joan. As early as January 1927, Jean-Jose Frappa said that "whatever the talent of the director (and he has it)...he cannot give us a Joan of Arc in the true French tradition. And the American 'star'...cannot be our Joan, wholesome, lively, shining with purity, faith, courage and patriotism. To let this be made in France would be a scandalous abdication of responsibility."[19] Before its French premiere, several cuts were made by order of the Archbishop of Paris and by government censors. Dreyer had no say in these cuts and was angry about them. Later that year on December 6, a fire at UFA studios in Berlin destroyed the film's original negative and only a few copies of Dreyer's original cut of the film existed. Dreyer was able to patch together a new version of his original cut using alternate takes not initially used. This version was also destroyed in a lab fire in 1929. Over the years, it became hard to find copies of Dreyer's second version and even harder to find copies of the original version.[19]
It was re-released in 1933 in a 61 minute version without any intertitles and including a new narration by radio star David Ross. In 1951, Joseph-Marie Lo Duca found a copy of the negative of Dreyer's second version in the Gaumont Studios vaults. Lo Duca then made several significant changes, including a new musical score by Bach, Albinoni and Vivaldi, removing many of the intertitles and replacing some with subtitles. Lo Duca's version was the only available one for many years. Dreyer objected to this version and said that it was in bad taste.[19]
The next version of the film was made by Arnie Krogh of the Danish Film Institute. Krogh cut together scenes and sequences from several different available prints to attempt to create a version that was as true to Dreyer's original cut as possible.[19]
Rediscovery of original version[edit]
The original version was lost for decades after a fire destroyed the master negative and only variations of Dreyer's second version were available. In 1981, an employee of the Dikemark Hospital mental institution in Oslo found several film canisters in a janitor's closet that were labeled as being The Passion of Joan of Arc.[1] The canisters were sent to the Norwegian Film Institute where they were first stored for three years until finally being examined. It was then discovered that they were Dreyer's original cut prior to government or church censorship. There were never any records of the film being shipped to Oslo, but film historians believe that the then director of the institution may have requested a special copy since he was also a published historian.[19]
Reception[edit]
On its initial release, the film was a critical success and immediately called a masterpiece. It was also a huge financial flop and caused the Société Générale to cancel its contract with Dreyer after the failure of this film and of Abel Gance's Napoléon. Dreyer angrily accused the Société Générale of mutilating the film so as to avoid offending Catholic viewers and sued them for breach of contract. The lawsuit went on until the fall of 1931, during which time Dreyer was unable to make another film.[5] It was banned in Britain for its portrayal of crude English soldiers who mock and torment Joan in scenes that mirror biblical accounts of Christ's mocking at the hands of Roman soldiers. The Archbishop of Paris was also critical, demanding changes be made to the film.[20]
The New York Times film reviewer Mordaunt Hall raved:

... as a film work of art this takes precedence over anything that has so far been produced. It makes worthy pictures of the past look like tinsel shams. It fills one with such intense admiration that other pictures appear but trivial in comparison.[20]
Of the star, he wrote, "... it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement."[20] However Variety gave the film a negative review on its initial release, calling it "a deadly tiresome picture."[21] In 1929 The National Board of Review named the film one of the best foreign films of the year.[22]
Legacy[edit]
The film and Falconetti's performance have continued to be praised by critics throughout the years. Pauline Kael wrote that Falconetti's portrayal "may be the finest performance ever recorded on film."[1][7] Roger Ebert praised the film and said that "You cannot know the history of silent film unless you know the face of Renee Maria Falconetti."[23] Jean Sémolué called it "a film of confrontation" and Paul Schrader has praised "the architecture of Joan's world, which literally conspires against her; like the faces of her inquisitors, the halls, doorways, furniture are on the offensive, striking, swooping at her with oblique angles, attacking her with hard-edged chunks of black and white."[5] Jonathan Rosenbaum has praised "Dreyer's radical approach to constructing space and the slow intensity of his mobile style make[s] this “difficult” in the sense that, like all the greatest films, it reinvents the world from the ground up."[24]
Some critics have found faults in the film, and Paul Rotha called it "one of the most remarkable productions ever realized in the history and development of cinema, but it was not a full exposition of real filmic properties". Tom Milne stated that "somehow the style Dreyer found for the film seems irremediably false. Instead of flowing naturally from his chosen materials...it seems imposed upon them...Throughout the film there is a constant stylistic uncertainty, an impurity, which jars heavily today," but adds that "Jeanne d'Arc has a majestic power which steamrollers its way through all its faults and excesses."[5]
The Passion of Joan of Arc has appeared on Sight & Sound magazine's top ten films poll five times: as number seven in 1952[25] and 1972,[26] and as number ten (Critic's List) and six (Director's List) in 1992[27] and as number nine in 2012 (Critic's List).[28] It ranked thirty-seventh on the Director's List in 2012 and was listed by such filmmakers as Manoel de Oliveira, Atom Egoyan, Tsai Ming-Liang, Walter Salles, Béla Tarr, Michael Mann,[29] who called it "Human experience conveyed purely from the visualisation of the human face: no one else has composed and realised human beings quite like Dreyer in The Passion of Joan of Arc",[30] and Kutlug Ataman, who said the film "taught me film could be just poetry and timeless."[31] The Village Voice ranked it the eighth of the twentieth century in a 2000 poll of critics.[32] In 2010, the Toronto International Film Festival released its "Essential 100" list of films, which merged one list of the 100 greatest films of all time as determined by an expert panel of TIFF curators with another list determined by TIFF stakeholders. The Passion of Joan of Arc was ranked as the most influential film of all time.[undue weight? – discuss][33][34] Her performance was ranked 26th in Premiere Magazine's 100 Greatest Performances of All Time,[35] the highest of any silent performance on the list.
Scenes from the film appear in Jean-Luc Godard's Vivre sa Vie (1962), in which the protagonist Nana sees the film at a cinema and identifies with Joan. In Henry & June, Henry Miller is shown watching the last scenes of the film and in voice-over narrates a letter to Anaïs Nin comparing her to Joan and himself to the "mad monk" character played by Antonin Artaud.
Music[edit]
Music for the film was played live in the theatre and there is no evidence that Dreyer ever selected a definitive score. Numerous composers have contributed scores for this film.
In 1988, the Dutch composer Jon van den Booren wrote a modern score for symphony orchestra.[36]
In 1994, composer Richard Einhorn wrote an oratorio based on the film entitled "Voices of Light". This piece is now available as an optional accompaniment on the Criterion Collection's DVD release.[37]
On 27 August 1995, Nick Cave and the Dirty Three played a live soundtrack to the film at the National Film Theatre in London.[38]
In 1999, American singer/songwriter Cat Power provided musical accompaniment at several screenings of the film in the U.S.[39]
In 2003, American ambient guitarist Rob Byrd performed a live score to the film at the Burning Man Festival in Nevada's Black Rock Desert. Subsequent live score performances took place in May 2004 at the Red Tail Loft in Boston, April 2008 at Monkeytown in Brooklyn, and November 2010 at the Lyndsay Chapel in Cambridge, Massachusetts.[40]
In 2003, Norwegian electronic music act Ugress released a limited edition CD entitled "La Passion De Jeanne D'Arc: Soundtrack to a silent movie."[41]
On 16 April 2008, neo-classical/martial electronica group In The Nursery premiered a new sound track for the film at Sheffield Cathedral.[42]
Danish composer Jesper Kyd was commissioned by Danish Film Festival founders Christian Ditlev Bruun and Lene Pels Jorgensen to provide a new score for the Danish Film Festival: Los Angeles.[43]
In 2009, the Estonian composer Tõnu Kõrvits wrote a score for small orchestra (for L´Ensemble De Basse-Normandie 2009/10 concert season) for this film.[44]
In 2009, the Lithuanian composer Bronius Kutavičius wrote a score for chamber orchestra (for St. Christopher Chamber Orchestra), which was performed in Scanorama – European film forum in Vilnius.[45]
In 2010, American electronic/chamber composer/arranger George Sarah provided an original score along with a string quartet and choir featuring members of the LA Master Chorale at a screening of the film in Los Angeles.[46]
In 2010, Canadian composer Stefan Smulovitz wrote a score for string quartet, brass, percussion, pipe organ, and solo voice, which premiered at the PuSh International Performing Arts Festival in Vancouver, BC.[47]
On 7 May 2010, a score by Adrian Utley and Will Gregory premièred at the Colston Hall in Bristol. It was a collaboration between Utley, Gregory, the Colston Hall and the Watershed Media Centre.[48]
On 14 April 2011, indie rock outfit Joan of Arc accompanied this film at Chicago International Movies & Music Fest (CIMM Fest).[49]
By the end of September 2014, Matthew Jones (violin) and Jonathan Slaatto (cello) from Danish Ensemble MidtVest, in collaboration with silent film pianist Ronen Thalmay and oboist Henrik Goldschmidt, accompanied this film by the means of free improvisation. Performances were held in Copenhagen (September 23rd), Sdr. Felding (September 26th), Holstebro (September 27th), and Århus (September 29th).[50]
On January 9th 2015, hazards of swimming naked performed an original score accompaniment to a sold out screening of the film at the Queensland Gallery of Modern Art [51] as part of the Cinematheque's "Myth's and Legends" programme.
See also[edit]
Cultural depictions of Joan of Arc
List of historical drama films
List of films considered the best
Trial movies
Notes[edit]
a.Jump up ^ Simon, best known for Boudu Saved from Drowning and L'Atalante, is visible for two brief moments only.
References[edit]
1.^ Jump up to: a b c The Criterion Collection: Passion of Joan of Arc, The – Synopsis by Anonymous. Retrieved 22 March 2007.
2.Jump up ^ DVD commentary by Casper Tybjerg, Associate Professor of Film Studies at the Department of Media, Cognition and Communication at the University of Copenhagen.
3.Jump up ^ Dreyer, Carl Theodor. Four Screenplays. Bloomington & London: Indiana University Press. 1970. ISBN 0-253-12740-8. pp. 27-76.
4.Jump up ^ Wakeman, John. World Film Directors, Volume 1." The H. W. Wilson Company. 1987. p. 268. ISBN ISBN 0-8242-0757-2.
5.^ Jump up to: a b c d e f g h Wakeman. p. 268.
6.Jump up ^ Dreyer. p. 21.
7.^ Jump up to: a b Kael, Pauline (1982). 5001 Nights At the Movies. Holt, Rinehart and Winston, New York. p. 449. ISBN 0-03-042606-5.
8.^ Jump up to: a b c d Criterion. Interview with Hélène Falconetti.
9.Jump up ^ Milne. p. 95.
10.Jump up ^ Milne. pp. 95-96.
11.Jump up ^ Milne. p. 97.
12.^ Jump up to: a b Ebert, Roger (February 16, 1997). "The Passion of Joan of Arc (1928)". rogerebert.com. Retrieved September 9, 2010.
13.Jump up ^ Milne. pp. 106-107.
14.^ Jump up to: a b Carl Theodor Dreyer. "Realized Mysticism in The Passion of Joan of Arc". Danish Film Institute (reprinted by The Criterion Collection). Retrieved 8 September 2010.
15.Jump up ^ Milne. p. 103.
16.Jump up ^ The Criterion Collection. The Passion of Joan of Arc DVD. Special features: Production design. 1999.
17.^ Jump up to: a b c Criterion. Production design.
18.Jump up ^ Milne, Tom. The Cinema of Carl Dreyer. New York: A. S. Barnes & Co. 1971. SBN 498-07711-X. p. 94.
19.^ Jump up to: a b c d e Criterion. Version History.
20.^ Jump up to: a b c Mordaunt Hall (March 31, 1929). "The Passion of Joan of Arc (1928)". The New York Times.
21.Jump up ^ "Review: ‘Le Passion de Jeanne D’Arc’". Variety (magazine). Retrieved 2014-11-28.
22.Jump up ^ "The Passion of Joan of Arc (1928)". The New York Times. Retrieved 2014-11-28.
23.Jump up ^ "The Passion of Joan of Arc". rogerebert.com. Retrieved 2014-06-08.
24.Jump up ^ "The Passion of Joan of Arc". The Chicago Reader. Retrieved 2014-06-08.
25.Jump up ^ "The Sight & Sound Top Ten Poll: 1952". Sight & Sound. Retrieved 2008-02-24.
26.Jump up ^ "The Sight & Sound Top Ten Poll: 1972". Sight & Sound. Retrieved 2008-02-24.
27.Jump up ^ "The Sight & Sound Top Ten Poll: 1992". Sight & Sound. Retrieved 2008-02-24.
28.Jump up ^ http://www.bfi.org.uk/news/50-greatest-films-all-time
29.Jump up ^ "Joan of Arc". Sight & Sound. Retrieved 2014-11-28.
30.Jump up ^ "Michael Mann". Sight & Sound. Retrieved 2014-11-28.
31.Jump up ^ "Kutlug Ataman". Sight & Sound. Retrieved 2014-11-28.
32.Jump up ^ 100 Best Films – Village Voice. Filmsite.org (4 January 2000). Retrieved 5 June 2012.
33.Jump up ^ "TIFF Essential 100". 22 December 2010. Retrieved 22 December 2010.
34.Jump up ^ "Dreyer film voted most influential". Copenhagen Post. 22 September 2010. Retrieved 26 September 2010.
35.Jump up ^ Premiere Magazine's 100 Greatest Performances of All Time. Listology (14 March 2006). Retrieved 5 June 2012.[unreliable source?]
36.Jump up ^ Jo van den Booren. Jovandenbooren.nl. Retrieved 5 June 2012.
37.Jump up ^ Moving Pictures: Chorus Performs Dramatic Oratorio for Classic Film. Category: Arts & Events from. The Berkeley Daily Planet. Retrieved 5 June 2012.
38.Jump up ^ Nick Cave Collector's Hell 1977-2011 Nick Cave Fan Site. Retrieved June 8, 2014.
39.Jump up ^ Chan Marshall interview. Kinda Muzik site. Retrieved June 8, 2014.
40.Jump up ^ "The Passion of Joan of Arc" Live Score Performance boston.com. Retrieved June 8, 2014.
41.Jump up ^ Ugress website ugress.com. Retrieved June 8, 2014.
42.Jump up ^ In the Nursery website inthenursery.com. Retrieved June 8, 2014.
43.Jump up ^ Jesper Kyd Online. Jesperkyd.com. Retrieved 5 June 2012.
44.Jump up ^ Estonian Composer Union website. helilooja.ee. June 8, 2014.
45.Jump up ^ Berg Orchestra website. www.berg.cz. Retrieved June 8, 2014.
46.Jump up ^ Performing Arts Live website www.performingartslive.com. Retrieved June 8, 2014.
47.Jump up ^ http://www.stefansmulovitz.ca/StefanSmulovitz/Music.html
48.Jump up ^ The Passion of Joan of Arc. Colston Hall (7 May 2010). Retrieved 5 June 2012.
49.Jump up ^ Joan of Arc Website. www.joanofarcband.com. Retrieved June 8, 2014.
50.Jump up ^ Ensemble MidtVest, 'Jeanne d'Arcs Lidelse og Død'. www.emv.dk. Retrieved October 3, 2014.
51.Jump up ^ http://qagoma.qtix.com.au/event/joan_of_ark_15.aspx
External links[edit]
The Passion of Joan of Arc at the Internet Movie Database
The Passion of Joan of Arc is available for free download at the Internet Archive
The Passion of Joan of Arc at Rotten Tomatoes
The Passion of Joan of Arc at AllMovie
Criterion Collection essay by Carl Theodor Dreyer
Voted No. 4 on The Arts and Faith Top 100 Films (2010)


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Categories: 1928 films
1920s historical films
Courtroom films
French films
French historical films
French silent films
Black-and-white films
Films about Joan of Arc
Films based on actual events
Films directed by Carl Theodor Dreyer









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The Messenger: The Story of Joan of Arc

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The Messenger:
 The Story of Joan of Arc
Messenger poster.jpg
French theatrical release poster

Directed by
Luc Besson
Produced by
Patrice Ledoux
Written by
Luc Besson
Andrew Birkin
Starring
Milla Jovovich ·
 John Malkovich ·
 Faye Dunaway ·
 Dustin Hoffman
 
Music by
Éric Serra
Cinematography
Thierry Arbogast
Edited by
Sylvie Landra

Production
 company

Gaumont

Distributed by
Gaumont

Release dates

18 October 1999 (premiere)
27 October 1999[1] (France)
12 November 1999[1] (United States)


Running time
 158 minutes[2]
Country
France
Language
English
Budget
$60 million[3][4]
Box office
$66,976,317[2]
The Messenger: The Story of Joan of Arc (French: Jeanne d'Arc) is a 1999 French historical drama film directed by Luc Besson. The film stars Milla Jovovich, John Malkovich, Faye Dunaway and Dustin Hoffman. The screenplay was written by Besson and Andrew Birkin, and the original music score was composed by Éric Serra.
The Messenger portrays the story of St. Joan of Arc, the French war heroine and religious martyr of the 15th century. The story begins with young Joan as she witnesses the atrocities of the English against her family, and she is portrayed as having visions that inspire her to lead the French in battle against the occupying English forces. Her success in routing the English allows Charles VII to take the throne. Eventually Joan is tried and executed for heresy.
Besson's previous film, The Fifth Element, which also starred Jovovich, was a critical and financial success, and it had a positive influence on both their careers. The Messenger was intended to follow up that success and cement the status of Besson and Jovovich in film.[5] However, the film received mixed reviews from critics and underperformed at the box office,[6] earning just under $67 million on an $60 million budget.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production
5 Soundtrack
6 Historical accuracy
7 Release 7.1 Box office
7.2 Critical response
8 Accolades
9 Home media
10 References
11 External links

Plot[edit]
As a child, Joan has a violent and supernatural vision. She returns home to find her village burning. Her sister Catherine tries to protect her by hiding her from the attacking English forces, part of a longstanding rivalry with France. Joan, while hiding, witnesses the brutal murder and rape of her sister. Afterward, Joan is taken in by distant relatives.
Several years later at Chinon, the Dauphin and soon to be King of France, Charles VII (John Malkovich), receives a message from the now adult Joan (Milla Jovovich), asking him to provide an army to lead into battle against the occupying English. After meeting him and his mother-in-law Yolande of Aragon (Faye Dunaway) she describes her visions. Desperate, he believes her prophecy.
Clad in armour, Joan leads the French army to the besieged city of Orléans. She gives the English a chance to surrender, which they refuse. The armies' commanders, skeptical of Joan's leadership, initiate the next morning's battle to take over the stockade at St. Loup without her. By the time she arrives on the battlefield, the French soldiers are retreating. Joan ends the retreat and leads another charge, successfully capturing the fort. They proceed to the enemy stronghold called the "Tourelles". Joan gives the English another chance to surrender, but they refuse. Joan leads the French soldiers to attack the Tourelles, though the English defenders inflict heavy casualties, also wounding Joan. Nevertheless, Joan leads a second attack the following day. As the English army regroups, the French army moves to face them across an open field. Joan rides alone toward the English and offers them a final chance to surrender and return to England. The English accept her offer and retreat.
Joan returns to Rheims to witness the coronation of Charles VII of France. Her military campaigns then continue to the walls of Paris, though she does not receive her requested reinforcements, and the siege is a failure. Joan tells King Charles VII to give her another army, but he refuses, saying he now prefers diplomacy over warfare. Believing she threatens his position, Charles conspires to get rid of Joan by allowing her to be captured by enemy forces. She is taken prisoner by the pro-English Burgundians at Compiègne, who sell her to the English.
Charged with the crime of heresy, based on her claim of visions and signs from God, she is tried in an ecclesiastical court proceeding, which is forced by the English occupation government. The English wish to quickly condemn and execute Joan, as English soldiers are afraid to fight while she remains alive. Bishop Cauchon expresses his fear of wrongfully executing someone who might have received visions from God. About to be burned for heresy, Joan is distraught that she will be executed without making a final confession. The Bishop tells her she must recant her visions before he can hear her confession. Joan signs the recantation. The relieved Bishop shows the paper to the English, saying that Joan can no longer be burned as a heretic. Whilst in her cell, Joan in confronted by an unnamed cloaked man (Dustin Hoffman), who is implied to be Joan's conscience. The man makes Joan question whether she was actually receiving messages from God.
The frustrated English devise another way to have Joan executed by the church. English soldiers go into Joan's cell room, rip her clothes and give her men's clothing to wear. They then state she conjured a spell to make the new clothing appear, suggesting that she is a witch who must be burned. Although suspecting the English are lying, the Bishop abandons Joan to her fate, and she is burned alive in the marketplace of Rouen.
Cast[edit]
Milla Jovovich as Joan of Arc
John Malkovich as Charles VII of France
Faye Dunaway as Yolande of Aragon
Dustin Hoffman as The Conscience
Andrew Birkin as John Talbot
Vincent Cassel as Gilles de Rais
Pascal Greggory as John II, Duke of Alençon
Richard Ridings as La Hire
Desmond Harrington as Jean d'Aulon
Timothy West as Pierre Cauchon
Themes[edit]
Luc Besson stated that he was not interested in narrating the history of Joan of Arc; rather, he wanted to pull a message out of history that is relevant for today. Besson states that in order to achieve this he stepped away from the factual narrative of the 15th century, instead trying to get behind the "exterior envelope" and into both the emotional effect and affect of Joan. In the book The Films of Luc Besson, Susan Hayward interprets this as meaning Besson sought to follow Joan emotionally, revealing her doubts and demonstrating that one cannot return intact from the experience of war.[7]
As the medievalist Gwendolyn Morgan observes, Joan's sanity is a continuing theme throughout the film, beginning with the priest questioning her as a child and ending with her conversations with 'The Conscience' in the film's final scenes. Scholars view The Conscience as providing a postmodern explanation of Joan's visions. At the time that Joan lived, her voices and visions would not have been doubted.[8] John Aberth, writing in the book A Knight at the Movies stated the filmmakers invented The Conscience to satisfy a modern audience that is aware of mental illness.[4] The film was also said to have "feminist undercurrents"; after Joan witnesses the rape of her sister, her crusade is said to become "a fight against male domination and the abuse of women."[8] Writing in Exemplaria, Nickolas Haydock also considered the witnessing of her sister's murder and rape to be an alternate psychological motivation for Joan to want to fight the English, rather than just her visions.[9]
Haydock also considered a theme in the film to be the inability of the church to fulfill individual spiritual needs.[9] This is said to be shown through many of Joan's encounters with the church; as a girl she is scolded for going to confession too often, denied communion and forced to sneak into the church to take it herself, and during her trial, where she is denied confession until The Conscience confesses her instead.[4]
Writing in Studies in Medievalism XIII, Christa Canitz considered anti-intellectualism to be present in The Messenger; Joan admits to not knowing how to read or write and has not received any formal education, military or otherwise, yet triumphs over those who have.[10] Haydock commented that Joan possesses a quick wit which she uses against the unrelenting accusatory questions provided by her "intellectual superiors" during the trial. Joan also manages to triumph in battle where those with more experience and knowledge could not, made especially apparent by her use of a siege weapon backward to force open a gate.[9]
Production[edit]
Luc Besson was originally hired as executive producer for a film that was to be directed by Kathryn Bigelow. Bigelow had been developing ideas for a Joan of Arc film for about a decade. Her film was to be entitled Company of Angels, with Jay Cocks hired to write the script. The film was to be made with Besson's assistance and financial backing; in July 1996 contracts between Bigelow and Besson were exchanged, which gave Besson in addition to his personal fee, the right to be consulted on casting. According to Bigelow, eight weeks prior to filming, Besson realised that his then wife, Milla Jovovich, was not going to be cast as Joan, and he subsequently withdrew his support from the film, and with it the support of his financial backers. Bigelow threatened legal action for breach of contract and "stealing her research";[11] the matter was settled out of court.[5] After Besson left, he commenced production of his own Joan of Arc project, The Messenger, with Jovovich given the lead role; the production of Company of Angels disbanded shortly thereafter.[12] The Messenger was intended to follow up the success Besson and Jovovich achieved with their previous collaboration, The Fifth Element.[5]
Filming took place in the Czech Republic. A stuntman died in an accident during the first weeks of filming.[5] Besson was said to have become completely uncommunicative after the incident, only appearing on set to shout orders at people.[13]
Soundtrack[edit]

The Messenger: The Story of Joan of Arc

Soundtrack album by Éric Serra

Released
2 November 1999
Genre
Film score
Label
Sony Music Entertainment
Éric Serra chronology

The Fifth Element
 (1997) The Messenger: The Story of Joan of Arc
 (1999) L'Art (délicat) de la séduction
 (2001)

The soundtrack for the film was composed by Éric Serra and released as an album on Sony Music Entertainment. It was Serra's eighth collaboration with director Luc Besson, having composed albums for seven of Besson's previous films including La Femme Nikita and Léon: The Professional.[14] The album runs for about 64 minutes, and some form of music is playing during about 90 percent of the film.[15] Commentators noted the change in Serra's work, which had traditionally relied heavily on synthesizer effects. The Messenger, on the other hand, is a primarily orchestral score as justified by the film's historical context,[16] though synthesized effects are still used in some tracks.[14][17] Writing in The Films of Luc Besson, Mark Brownrigg stated Serra's score completed his "evolution" from pop-score writer to orchestral film composer; Serra's previous score for The Fifth Element had also used orchestral elements.[18] They gave a favourable review of the score, though criticised the music that is heard during Joan's death, describing it as an unimaginative paraphrasing of Carmina Burana.[17] Allmusic gave the album 3 out of 5 stars, stating it "combines orchestral, rock, and electronic elements for a sweeping, cinematic experience."[19] Dan Goldwasser from Soundtrack.net gave the soundtrack 4 out of 5, stating it was "very satisfying to listen to", though he expressed disappointment with the absence on the soundtrack of a particular piece of music present during Joan's discussion with The Conscience.[14]
Historical accuracy[edit]
The scene in which Joan witnesses her sister's murder and posthumous rape by English soldiers in their village is entirely a fictional construction.[4][8][20] Joan and her family fled their village before it was attacked,[9] and it was actually attacked by the Burgundians, not the English.[20] In the film Joan is seen experiencing visions as a young child when the historical Joan asserted that these visions began around the age of 13. Joan is also seen finding her sword in a field as a child, whereas historically it was uncovered many years later on her journey to Chinon.[8]
Hayward credits Besson with showing the collaboration between the Burgundians and the English more accurately than previous filmmakers.[20] Many lines during scenes of Joan's trial are taken verbatim from Joan's real trial transcript.[4] Joan is shown receiving both wounds she was given in real life (an arrow above the breast and later an arrow to the leg), and the film includes some of the 15th-century accounts associated with Joan, such as being able to pick out Charles VII from among a group of his courtiers at Chinon.[4] The examining of Joan's virginity was a real test Joan had to complete to prove her merit.[4]
Release[edit]
Box office[edit]
The film grossed US $14,276,317 in the US, plus $52,700,000 from the rest of the world for a combined gross of $66,976,317.[2]
Critical response[edit]
The Messenger received mixed reviews. On Rotten Tomatoes, the film has a score of 30% based on reviews from 73 critics, with the consensus: "The heavy-handed narrative collapses under its own weight."[21] At Metacritic the film holds a score of 54 based on 33 reviews, indicating "mixed or average" reception.[22]
Roger Ebert gave the film 2 out of 4 stars, stating, "The movie is a mess: a gassy costume epic with nobody at the center." Ebert stated the film may have been educational for the test audience participants who wrote, "Why does she have to die at the end?" on their evaluation cards.[23] In a review entitled Vivid Action Can't Save Miscast 'Joan‍ '​, Todd McCarthy praised the film's action scenes and technical aspects, including Thierry Arbogast's cinematography, though overall gave a negative review. He criticised the casting of Jovovich, stating the only thing she brought to the film was "her strikingly tall and skinny physicality, which is not exactly how one has been led to picture [Joan]".[1] Ron Wells from Film Threat, however, gave the film four out of five stars. Also praising the action scenes, Wells stated the film's main strength was its "adult ambiguities and relationships"; its decision not to portray Joan as a "super-hero", but rather to let the audience decide whether she was a prophet or merely bipolar, concluding, "This film, as most things that involve religion, is better understood if you learn not to take everything so literally."[24]
Accolades[edit]
The Messenger was nominated for eight awards at the 25th César Awards of which it won two; one for Costume Design and one for Best Sound.[25][26] The film also won two Lumières Award for Best Director and Best Film.[27] It was nominated for 'Most Original' trailer at the 1999 Golden Trailer Awards,[28] Best Costume Design and Best Production Design at the 1999 Las Vegas Film Critics Society Awards, and won the Golden Reel Award for Best Sound Editing.[29]
Conversely, Milla Jovovich's performance was nominated for a Golden Raspberry Award for Worst Actress.[30]

Year
Event
Award
Nominee
Result
1999 Golden Raspberry Awards Worst Actress Milla Jovovich Nominated
1999 Golden Trailer Awards Most Original Imaginary Forces Nominated
1999 Las Vegas Film Critics Society Awards Best Costume Design Catherine Leterrier Nominated
Best Production Design Hugues Tissandier Nominated
2000 César Award Best Costume Design Catherine Leterrier Won
Best Sound François Groult, Bruno Tarriere, Vincent Tulli Won
Best Director Luc Besson Nominated
Best Photography Thierry Arbogast Nominated
Best Editing Sylvie Landra Nominated
Best Music Éric Serra Nominated
Best Production Design Hugues Tissandier Nominated
Best Film The Messenger: The Story of Joan of Arc Nominated
2000 Golden Reel Award Best Sound Editing: Foreign Feature Sound production team Won
2000 Lumières Award Best Director Luc Besson Won
Best Film The Messenger: The Story of Joan of Arc Won
Home media[edit]
The Messenger was released on DVD on 4 April 2000.[31] The DVD version presented the film in its original 2.35:1 format, and contained several minutes of footage that did not appear in the US theatrical version. It featured English subtitles, interactive menus, 'talent files', a 2-page production booklet, a 24-minute HBO First Look special entitled The Messenger: The Search for the Real Joan of Arc, the film's theatrical trailer as well as trailers for Run Lola Run, Léon: The Professional and Orlando. The DVD also containted Éric Serra's original score for the film, which was presented in Dolby Digital 5.1 Surround Sound, as was the film itself. Whilst criticising the film itself, Heather Picker of DVD Talk gave a favourable review of the DVD release.[32]
The Blu-ray version was released on 2 December 2008.[31] It contains audio in English, French, Portuguese, Spanish, and Thai, and subtitles in 10 languages. Glenn Erickson of DVD Talk also criticised the film, yet praised the Blu-ray release, rating it 4½ stars out of 5 for its video quality and 4 out of 5 for its audio, though only giving it 1½ stars for its extras, noting the lack of special features.[33] A review from Blu-Ray.com also gave a favourable review of both the audio and visual quality, stating "I don't think that there is much here one could be dissatisfied with."[34] High-Def Digest, however, gave a more negative review. Whilst praising the audio quality, the lack of special features was criticised, as was the video quality, which was described as being "smothered" with edge enhancement. The reviewer concluded, "Sony is practically begging people not to buy it."[35]
References[edit]
Notes
1.^ Jump up to: a b c McCarthy, Todd (31 October 1999). "Review: 'The Messenger: The Story of Joan of Arc – Vivid Action Can't Save Miscast 'Joan'". Variety. Retrieved 3 October 2014.
2.^ Jump up to: a b c "The Messenger: The Story of Joan of Arc (1999)". Box Office Mojo. Retrieved 21 November 2014.
3.Jump up ^ Hayward 2009, p. 162.
4.^ Jump up to: a b c d e f g Aberth, John (2012). A Knight at the Movies. Taylor & Francis. pp. 257–298. ISBN 9781135257262.
5.^ Jump up to: a b c d Hayward 2009, p. 161.
6.Jump up ^ "Luc Besson". MSN. Retrieved 5 October 2014.
7.Jump up ^ Hayward 2009, p. 165.
8.^ Jump up to: a b c d Studies in Medievalism XII: Film and Fiction: Reviewing the Middle Ages. D.S. Brewer. 23 January 2003. pp. 40–46. ISBN 978-0-85991-772-8.
9.^ Jump up to: a b c d Haydock, Nickolas (Summer 2007). "Shooting the Messenger: Luc Besson at War with Joan of Arc". Exemplaria 19 (2): 243–269.
10.Jump up ^ Canitz, Christa (2004). Historians Will Say I am a Liar: The Ideology of False Truth Claims in Mel Gibson's 'Braveheart' and Luc Besson's 'The Messenger'. Studies in Medievalism XIII: Postmodern Medievalisms: Cambridge and Rochester. pp. 127–142.
11.Jump up ^ Schubart, Rikke (3 April 2007). Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–2006. Jefferson, North Carolina: McFarland & Company. p. 273. ISBN 978-0786429240.
12.Jump up ^ Jermyn, Deborah; Redmond, Sean (15 January 2003). The Cinema of Kathryn Bigelow: Hollywood Transgressor. Wallflower Press. p. 11. ISBN 978-1-903364-42-0.
13.Jump up ^ Hotlz, Michel (27 October 1999). "Les grands bleus. La coterie de Besson et ses méthodes sont vertement dénoncées. Jeanne d'Arc de Luc Besson avec Milla Jovovich, John Malkovich, Faye Dunaway, Desmond Harrington, Dustin Hoffman. 2 h 40.". Libération (in French). Retrieved 5 October 2014.
14.^ Jump up to: a b c Goldwasser, Dan (23 June 2001). "The Messenger: The Story of Joan of Arc". Soundtrack.net. Retrieved 1 October 2014.
15.Jump up ^ Hayward 2009, p. 47.
16.Jump up ^ Hayward 2009, p. 53.
17.^ Jump up to: a b Hayward 2009, p. 70.
18.Jump up ^ Hayward 2009, p. 69.
19.Jump up ^ "The Messenger: The Story of Joan of Arc". Allmusic. Retrieved 21 November 2014.
20.^ Jump up to: a b c Hayward 2009, p. 164.
21.Jump up ^ "The Messenger: The Story of Joan of Arc". Rotten Tomatoes. Retrieved 21 November 2014.
22.Jump up ^ "The Messenger: The Story of Joan of Arc". Metacritic. Retrieved 21 November 2014.
23.Jump up ^ Ebert, Roger (12 November 1999). "The Messenger: The Story of Joan of Arc". RogerEbert.com. Retrieved 3 October 2014.
24.Jump up ^ Wells, Ron (11 December 1999). "The Messenger: The Story of Joan of Arc". Film Threat. Retrieved 3 October 2014.
25.Jump up ^ Dubois, Julien (20 January 2000). "Leconte, Besson top Cesar nominations". Screen Daily. Retrieved 21 November 2014.
26.Jump up ^ Saint Marc, Francoise Meaux (20 February 2000). "Venus outshines Joan at Cesars". Screen Daily. Retrieved 21 November 2014.
27.Jump up ^ "Nos palmares precedent". Lumières Award (in French). Retrieved 1 October 2014.
28.Jump up ^ "Winner and Nominees for the 1st Annual Golden Trailer Awards". Golden Trailer Awards. Retrieved 2 October 2014.
29.Jump up ^ "Jeanne d'Arc (1999)". The Encyclopaedia of Fantastic Film and Television. Retrieved 21 November 2014.
30.Jump up ^ "1999 Nominees Press Release". Golden Raspberry Awards. 12 July 2000. Retrieved 21 November 2014.
31.^ Jump up to: a b "The Messenger: The Story of Joan of Arc (1999)". DVD Release Dates. Retrieved 5 October 2014.
32.Jump up ^ Picker, Heather (13 April 2000). "The Messenger: The Story of Joan of Arc". DVD Talk. Retrieved 5 October 2014.
33.Jump up ^ Erickson, Glenn (2 December 2008). "The Messenger: The Story of Joan of Arc (Blu-ray)". DVD Talk. Retrieved 5 October 2014.
34.Jump up ^ "The Messenger: The Story of Joan of Arc Blu-ray". Blu-Ray.com. Retrieved 5 October 2014.
35.Jump up ^ Zyber, Joshua. "The Messenger: The Story of Joan of Arc". High-Def Digest. Retrieved 5 October 2014.
Bibliography
Hayward, Susan; Powrie, Phil (2009). The Films of Luc Besson: Master of Spectacle. Manchester: Manchester University Press. ISBN 978-0-7190-7029-7.
External links[edit]
The Messenger: The Story of Joan of Arc at the Internet Movie Database
The Messenger: The Story of Joan of Arc at the TCM Movie Database
The Messenger: The Story of Joan of Arc at AllMovie
The Messenger: The Story of Joan of Arc at Rotten Tomatoes
The Messenger: The Story of Joan of Arc at Box Office Mojo
The Messenger: The Story of Joan of Arc at Metacritic


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The Messenger: The Story of Joan of Arc

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The Messenger:
 The Story of Joan of Arc
Messenger poster.jpg
French theatrical release poster

Directed by
Luc Besson
Produced by
Patrice Ledoux
Written by
Luc Besson
Andrew Birkin
Starring
Milla Jovovich ·
 John Malkovich ·
 Faye Dunaway ·
 Dustin Hoffman
 
Music by
Éric Serra
Cinematography
Thierry Arbogast
Edited by
Sylvie Landra

Production
 company

Gaumont

Distributed by
Gaumont

Release dates

18 October 1999 (premiere)
27 October 1999[1] (France)
12 November 1999[1] (United States)


Running time
 158 minutes[2]
Country
France
Language
English
Budget
$60 million[3][4]
Box office
$66,976,317[2]
The Messenger: The Story of Joan of Arc (French: Jeanne d'Arc) is a 1999 French historical drama film directed by Luc Besson. The film stars Milla Jovovich, John Malkovich, Faye Dunaway and Dustin Hoffman. The screenplay was written by Besson and Andrew Birkin, and the original music score was composed by Éric Serra.
The Messenger portrays the story of St. Joan of Arc, the French war heroine and religious martyr of the 15th century. The story begins with young Joan as she witnesses the atrocities of the English against her family, and she is portrayed as having visions that inspire her to lead the French in battle against the occupying English forces. Her success in routing the English allows Charles VII to take the throne. Eventually Joan is tried and executed for heresy.
Besson's previous film, The Fifth Element, which also starred Jovovich, was a critical and financial success, and it had a positive influence on both their careers. The Messenger was intended to follow up that success and cement the status of Besson and Jovovich in film.[5] However, the film received mixed reviews from critics and underperformed at the box office,[6] earning just under $67 million on an $60 million budget.


Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production
5 Soundtrack
6 Historical accuracy
7 Release 7.1 Box office
7.2 Critical response
8 Accolades
9 Home media
10 References
11 External links

Plot[edit]
As a child, Joan has a violent and supernatural vision. She returns home to find her village burning. Her sister Catherine tries to protect her by hiding her from the attacking English forces, part of a longstanding rivalry with France. Joan, while hiding, witnesses the brutal murder and rape of her sister. Afterward, Joan is taken in by distant relatives.
Several years later at Chinon, the Dauphin and soon to be King of France, Charles VII (John Malkovich), receives a message from the now adult Joan (Milla Jovovich), asking him to provide an army to lead into battle against the occupying English. After meeting him and his mother-in-law Yolande of Aragon (Faye Dunaway) she describes her visions. Desperate, he believes her prophecy.
Clad in armour, Joan leads the French army to the besieged city of Orléans. She gives the English a chance to surrender, which they refuse. The armies' commanders, skeptical of Joan's leadership, initiate the next morning's battle to take over the stockade at St. Loup without her. By the time she arrives on the battlefield, the French soldiers are retreating. Joan ends the retreat and leads another charge, successfully capturing the fort. They proceed to the enemy stronghold called the "Tourelles". Joan gives the English another chance to surrender, but they refuse. Joan leads the French soldiers to attack the Tourelles, though the English defenders inflict heavy casualties, also wounding Joan. Nevertheless, Joan leads a second attack the following day. As the English army regroups, the French army moves to face them across an open field. Joan rides alone toward the English and offers them a final chance to surrender and return to England. The English accept her offer and retreat.
Joan returns to Rheims to witness the coronation of Charles VII of France. Her military campaigns then continue to the walls of Paris, though she does not receive her requested reinforcements, and the siege is a failure. Joan tells King Charles VII to give her another army, but he refuses, saying he now prefers diplomacy over warfare. Believing she threatens his position, Charles conspires to get rid of Joan by allowing her to be captured by enemy forces. She is taken prisoner by the pro-English Burgundians at Compiègne, who sell her to the English.
Charged with the crime of heresy, based on her claim of visions and signs from God, she is tried in an ecclesiastical court proceeding, which is forced by the English occupation government. The English wish to quickly condemn and execute Joan, as English soldiers are afraid to fight while she remains alive. Bishop Cauchon expresses his fear of wrongfully executing someone who might have received visions from God. About to be burned for heresy, Joan is distraught that she will be executed without making a final confession. The Bishop tells her she must recant her visions before he can hear her confession. Joan signs the recantation. The relieved Bishop shows the paper to the English, saying that Joan can no longer be burned as a heretic. Whilst in her cell, Joan in confronted by an unnamed cloaked man (Dustin Hoffman), who is implied to be Joan's conscience. The man makes Joan question whether she was actually receiving messages from God.
The frustrated English devise another way to have Joan executed by the church. English soldiers go into Joan's cell room, rip her clothes and give her men's clothing to wear. They then state she conjured a spell to make the new clothing appear, suggesting that she is a witch who must be burned. Although suspecting the English are lying, the Bishop abandons Joan to her fate, and she is burned alive in the marketplace of Rouen.
Cast[edit]
Milla Jovovich as Joan of Arc
John Malkovich as Charles VII of France
Faye Dunaway as Yolande of Aragon
Dustin Hoffman as The Conscience
Andrew Birkin as John Talbot
Vincent Cassel as Gilles de Rais
Pascal Greggory as John II, Duke of Alençon
Richard Ridings as La Hire
Desmond Harrington as Jean d'Aulon
Timothy West as Pierre Cauchon
Themes[edit]
Luc Besson stated that he was not interested in narrating the history of Joan of Arc; rather, he wanted to pull a message out of history that is relevant for today. Besson states that in order to achieve this he stepped away from the factual narrative of the 15th century, instead trying to get behind the "exterior envelope" and into both the emotional effect and affect of Joan. In the book The Films of Luc Besson, Susan Hayward interprets this as meaning Besson sought to follow Joan emotionally, revealing her doubts and demonstrating that one cannot return intact from the experience of war.[7]
As the medievalist Gwendolyn Morgan observes, Joan's sanity is a continuing theme throughout the film, beginning with the priest questioning her as a child and ending with her conversations with 'The Conscience' in the film's final scenes. Scholars view The Conscience as providing a postmodern explanation of Joan's visions. At the time that Joan lived, her voices and visions would not have been doubted.[8] John Aberth, writing in the book A Knight at the Movies stated the filmmakers invented The Conscience to satisfy a modern audience that is aware of mental illness.[4] The film was also said to have "feminist undercurrents"; after Joan witnesses the rape of her sister, her crusade is said to become "a fight against male domination and the abuse of women."[8] Writing in Exemplaria, Nickolas Haydock also considered the witnessing of her sister's murder and rape to be an alternate psychological motivation for Joan to want to fight the English, rather than just her visions.[9]
Haydock also considered a theme in the film to be the inability of the church to fulfill individual spiritual needs.[9] This is said to be shown through many of Joan's encounters with the church; as a girl she is scolded for going to confession too often, denied communion and forced to sneak into the church to take it herself, and during her trial, where she is denied confession until The Conscience confesses her instead.[4]
Writing in Studies in Medievalism XIII, Christa Canitz considered anti-intellectualism to be present in The Messenger; Joan admits to not knowing how to read or write and has not received any formal education, military or otherwise, yet triumphs over those who have.[10] Haydock commented that Joan possesses a quick wit which she uses against the unrelenting accusatory questions provided by her "intellectual superiors" during the trial. Joan also manages to triumph in battle where those with more experience and knowledge could not, made especially apparent by her use of a siege weapon backward to force open a gate.[9]
Production[edit]
Luc Besson was originally hired as executive producer for a film that was to be directed by Kathryn Bigelow. Bigelow had been developing ideas for a Joan of Arc film for about a decade. Her film was to be entitled Company of Angels, with Jay Cocks hired to write the script. The film was to be made with Besson's assistance and financial backing; in July 1996 contracts between Bigelow and Besson were exchanged, which gave Besson in addition to his personal fee, the right to be consulted on casting. According to Bigelow, eight weeks prior to filming, Besson realised that his then wife, Milla Jovovich, was not going to be cast as Joan, and he subsequently withdrew his support from the film, and with it the support of his financial backers. Bigelow threatened legal action for breach of contract and "stealing her research";[11] the matter was settled out of court.[5] After Besson left, he commenced production of his own Joan of Arc project, The Messenger, with Jovovich given the lead role; the production of Company of Angels disbanded shortly thereafter.[12] The Messenger was intended to follow up the success Besson and Jovovich achieved with their previous collaboration, The Fifth Element.[5]
Filming took place in the Czech Republic. A stuntman died in an accident during the first weeks of filming.[5] Besson was said to have become completely uncommunicative after the incident, only appearing on set to shout orders at people.[13]
Soundtrack[edit]

The Messenger: The Story of Joan of Arc

Soundtrack album by Éric Serra

Released
2 November 1999
Genre
Film score
Label
Sony Music Entertainment
Éric Serra chronology

The Fifth Element
 (1997) The Messenger: The Story of Joan of Arc
 (1999) L'Art (délicat) de la séduction
 (2001)

The soundtrack for the film was composed by Éric Serra and released as an album on Sony Music Entertainment. It was Serra's eighth collaboration with director Luc Besson, having composed albums for seven of Besson's previous films including La Femme Nikita and Léon: The Professional.[14] The album runs for about 64 minutes, and some form of music is playing during about 90 percent of the film.[15] Commentators noted the change in Serra's work, which had traditionally relied heavily on synthesizer effects. The Messenger, on the other hand, is a primarily orchestral score as justified by the film's historical context,[16] though synthesized effects are still used in some tracks.[14][17] Writing in The Films of Luc Besson, Mark Brownrigg stated Serra's score completed his "evolution" from pop-score writer to orchestral film composer; Serra's previous score for The Fifth Element had also used orchestral elements.[18] They gave a favourable review of the score, though criticised the music that is heard during Joan's death, describing it as an unimaginative paraphrasing of Carmina Burana.[17] Allmusic gave the album 3 out of 5 stars, stating it "combines orchestral, rock, and electronic elements for a sweeping, cinematic experience."[19] Dan Goldwasser from Soundtrack.net gave the soundtrack 4 out of 5, stating it was "very satisfying to listen to", though he expressed disappointment with the absence on the soundtrack of a particular piece of music present during Joan's discussion with The Conscience.[14]
Historical accuracy[edit]
The scene in which Joan witnesses her sister's murder and posthumous rape by English soldiers in their village is entirely a fictional construction.[4][8][20] Joan and her family fled their village before it was attacked,[9] and it was actually attacked by the Burgundians, not the English.[20] In the film Joan is seen experiencing visions as a young child when the historical Joan asserted that these visions began around the age of 13. Joan is also seen finding her sword in a field as a child, whereas historically it was uncovered many years later on her journey to Chinon.[8]
Hayward credits Besson with showing the collaboration between the Burgundians and the English more accurately than previous filmmakers.[20] Many lines during scenes of Joan's trial are taken verbatim from Joan's real trial transcript.[4] Joan is shown receiving both wounds she was given in real life (an arrow above the breast and later an arrow to the leg), and the film includes some of the 15th-century accounts associated with Joan, such as being able to pick out Charles VII from among a group of his courtiers at Chinon.[4] The examining of Joan's virginity was a real test Joan had to complete to prove her merit.[4]
Release[edit]
Box office[edit]
The film grossed US $14,276,317 in the US, plus $52,700,000 from the rest of the world for a combined gross of $66,976,317.[2]
Critical response[edit]
The Messenger received mixed reviews. On Rotten Tomatoes, the film has a score of 30% based on reviews from 73 critics, with the consensus: "The heavy-handed narrative collapses under its own weight."[21] At Metacritic the film holds a score of 54 based on 33 reviews, indicating "mixed or average" reception.[22]
Roger Ebert gave the film 2 out of 4 stars, stating, "The movie is a mess: a gassy costume epic with nobody at the center." Ebert stated the film may have been educational for the test audience participants who wrote, "Why does she have to die at the end?" on their evaluation cards.[23] In a review entitled Vivid Action Can't Save Miscast 'Joan‍ '​, Todd McCarthy praised the film's action scenes and technical aspects, including Thierry Arbogast's cinematography, though overall gave a negative review. He criticised the casting of Jovovich, stating the only thing she brought to the film was "her strikingly tall and skinny physicality, which is not exactly how one has been led to picture [Joan]".[1] Ron Wells from Film Threat, however, gave the film four out of five stars. Also praising the action scenes, Wells stated the film's main strength was its "adult ambiguities and relationships"; its decision not to portray Joan as a "super-hero", but rather to let the audience decide whether she was a prophet or merely bipolar, concluding, "This film, as most things that involve religion, is better understood if you learn not to take everything so literally."[24]
Accolades[edit]
The Messenger was nominated for eight awards at the 25th César Awards of which it won two; one for Costume Design and one for Best Sound.[25][26] The film also won two Lumières Award for Best Director and Best Film.[27] It was nominated for 'Most Original' trailer at the 1999 Golden Trailer Awards,[28] Best Costume Design and Best Production Design at the 1999 Las Vegas Film Critics Society Awards, and won the Golden Reel Award for Best Sound Editing.[29]
Conversely, Milla Jovovich's performance was nominated for a Golden Raspberry Award for Worst Actress.[30]

Year
Event
Award
Nominee
Result
1999 Golden Raspberry Awards Worst Actress Milla Jovovich Nominated
1999 Golden Trailer Awards Most Original Imaginary Forces Nominated
1999 Las Vegas Film Critics Society Awards Best Costume Design Catherine Leterrier Nominated
Best Production Design Hugues Tissandier Nominated
2000 César Award Best Costume Design Catherine Leterrier Won
Best Sound François Groult, Bruno Tarriere, Vincent Tulli Won
Best Director Luc Besson Nominated
Best Photography Thierry Arbogast Nominated
Best Editing Sylvie Landra Nominated
Best Music Éric Serra Nominated
Best Production Design Hugues Tissandier Nominated
Best Film The Messenger: The Story of Joan of Arc Nominated
2000 Golden Reel Award Best Sound Editing: Foreign Feature Sound production team Won
2000 Lumières Award Best Director Luc Besson Won
Best Film The Messenger: The Story of Joan of Arc Won
Home media[edit]
The Messenger was released on DVD on 4 April 2000.[31] The DVD version presented the film in its original 2.35:1 format, and contained several minutes of footage that did not appear in the US theatrical version. It featured English subtitles, interactive menus, 'talent files', a 2-page production booklet, a 24-minute HBO First Look special entitled The Messenger: The Search for the Real Joan of Arc, the film's theatrical trailer as well as trailers for Run Lola Run, Léon: The Professional and Orlando. The DVD also containted Éric Serra's original score for the film, which was presented in Dolby Digital 5.1 Surround Sound, as was the film itself. Whilst criticising the film itself, Heather Picker of DVD Talk gave a favourable review of the DVD release.[32]
The Blu-ray version was released on 2 December 2008.[31] It contains audio in English, French, Portuguese, Spanish, and Thai, and subtitles in 10 languages. Glenn Erickson of DVD Talk also criticised the film, yet praised the Blu-ray release, rating it 4½ stars out of 5 for its video quality and 4 out of 5 for its audio, though only giving it 1½ stars for its extras, noting the lack of special features.[33] A review from Blu-Ray.com also gave a favourable review of both the audio and visual quality, stating "I don't think that there is much here one could be dissatisfied with."[34] High-Def Digest, however, gave a more negative review. Whilst praising the audio quality, the lack of special features was criticised, as was the video quality, which was described as being "smothered" with edge enhancement. The reviewer concluded, "Sony is practically begging people not to buy it."[35]
References[edit]
Notes
1.^ Jump up to: a b c McCarthy, Todd (31 October 1999). "Review: 'The Messenger: The Story of Joan of Arc – Vivid Action Can't Save Miscast 'Joan'". Variety. Retrieved 3 October 2014.
2.^ Jump up to: a b c "The Messenger: The Story of Joan of Arc (1999)". Box Office Mojo. Retrieved 21 November 2014.
3.Jump up ^ Hayward 2009, p. 162.
4.^ Jump up to: a b c d e f g Aberth, John (2012). A Knight at the Movies. Taylor & Francis. pp. 257–298. ISBN 9781135257262.
5.^ Jump up to: a b c d Hayward 2009, p. 161.
6.Jump up ^ "Luc Besson". MSN. Retrieved 5 October 2014.
7.Jump up ^ Hayward 2009, p. 165.
8.^ Jump up to: a b c d Studies in Medievalism XII: Film and Fiction: Reviewing the Middle Ages. D.S. Brewer. 23 January 2003. pp. 40–46. ISBN 978-0-85991-772-8.
9.^ Jump up to: a b c d Haydock, Nickolas (Summer 2007). "Shooting the Messenger: Luc Besson at War with Joan of Arc". Exemplaria 19 (2): 243–269.
10.Jump up ^ Canitz, Christa (2004). Historians Will Say I am a Liar: The Ideology of False Truth Claims in Mel Gibson's 'Braveheart' and Luc Besson's 'The Messenger'. Studies in Medievalism XIII: Postmodern Medievalisms: Cambridge and Rochester. pp. 127–142.
11.Jump up ^ Schubart, Rikke (3 April 2007). Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–2006. Jefferson, North Carolina: McFarland & Company. p. 273. ISBN 978-0786429240.
12.Jump up ^ Jermyn, Deborah; Redmond, Sean (15 January 2003). The Cinema of Kathryn Bigelow: Hollywood Transgressor. Wallflower Press. p. 11. ISBN 978-1-903364-42-0.
13.Jump up ^ Hotlz, Michel (27 October 1999). "Les grands bleus. La coterie de Besson et ses méthodes sont vertement dénoncées. Jeanne d'Arc de Luc Besson avec Milla Jovovich, John Malkovich, Faye Dunaway, Desmond Harrington, Dustin Hoffman. 2 h 40.". Libération (in French). Retrieved 5 October 2014.
14.^ Jump up to: a b c Goldwasser, Dan (23 June 2001). "The Messenger: The Story of Joan of Arc". Soundtrack.net. Retrieved 1 October 2014.
15.Jump up ^ Hayward 2009, p. 47.
16.Jump up ^ Hayward 2009, p. 53.
17.^ Jump up to: a b Hayward 2009, p. 70.
18.Jump up ^ Hayward 2009, p. 69.
19.Jump up ^ "The Messenger: The Story of Joan of Arc". Allmusic. Retrieved 21 November 2014.
20.^ Jump up to: a b c Hayward 2009, p. 164.
21.Jump up ^ "The Messenger: The Story of Joan of Arc". Rotten Tomatoes. Retrieved 21 November 2014.
22.Jump up ^ "The Messenger: The Story of Joan of Arc". Metacritic. Retrieved 21 November 2014.
23.Jump up ^ Ebert, Roger (12 November 1999). "The Messenger: The Story of Joan of Arc". RogerEbert.com. Retrieved 3 October 2014.
24.Jump up ^ Wells, Ron (11 December 1999). "The Messenger: The Story of Joan of Arc". Film Threat. Retrieved 3 October 2014.
25.Jump up ^ Dubois, Julien (20 January 2000). "Leconte, Besson top Cesar nominations". Screen Daily. Retrieved 21 November 2014.
26.Jump up ^ Saint Marc, Francoise Meaux (20 February 2000). "Venus outshines Joan at Cesars". Screen Daily. Retrieved 21 November 2014.
27.Jump up ^ "Nos palmares precedent". Lumières Award (in French). Retrieved 1 October 2014.
28.Jump up ^ "Winner and Nominees for the 1st Annual Golden Trailer Awards". Golden Trailer Awards. Retrieved 2 October 2014.
29.Jump up ^ "Jeanne d'Arc (1999)". The Encyclopaedia of Fantastic Film and Television. Retrieved 21 November 2014.
30.Jump up ^ "1999 Nominees Press Release". Golden Raspberry Awards. 12 July 2000. Retrieved 21 November 2014.
31.^ Jump up to: a b "The Messenger: The Story of Joan of Arc (1999)". DVD Release Dates. Retrieved 5 October 2014.
32.Jump up ^ Picker, Heather (13 April 2000). "The Messenger: The Story of Joan of Arc". DVD Talk. Retrieved 5 October 2014.
33.Jump up ^ Erickson, Glenn (2 December 2008). "The Messenger: The Story of Joan of Arc (Blu-ray)". DVD Talk. Retrieved 5 October 2014.
34.Jump up ^ "The Messenger: The Story of Joan of Arc Blu-ray". Blu-Ray.com. Retrieved 5 October 2014.
35.Jump up ^ Zyber, Joshua. "The Messenger: The Story of Joan of Arc". High-Def Digest. Retrieved 5 October 2014.
Bibliography
Hayward, Susan; Powrie, Phil (2009). The Films of Luc Besson: Master of Spectacle. Manchester: Manchester University Press. ISBN 978-0-7190-7029-7.
External links[edit]
The Messenger: The Story of Joan of Arc at the Internet Movie Database
The Messenger: The Story of Joan of Arc at the TCM Movie Database
The Messenger: The Story of Joan of Arc at AllMovie
The Messenger: The Story of Joan of Arc at Rotten Tomatoes
The Messenger: The Story of Joan of Arc at Box Office Mojo
The Messenger: The Story of Joan of Arc at Metacritic


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Categories: 1999 films
English-language films
Best Film Lumières Award winners
Columbia Pictures films
Films about Joan of Arc
Films directed by Luc Besson
Films shot in the Czech Republic
Films whose director won the Best Director Lumières Award
French films
French war films
Gaumont Film Company films
Religious epic films
War epic films









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