All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Passion of Joan of Arc
The Passion of Joan of Arc is the masterpiece from Danish director Carl Theodor Dreyer that depicts the story of French martyr Joan from Orleans seven years after her canonization from the catholic church.
I watched this twice, back to back. Once with sound, once without. Both times I was gobsmacked by what was laid out before me on screen. Watching this film feels like having the weight of our history looking over your shoulder with you. It is teeming with historical framing and importance, regarding both its shape and content.
Completely ignoring historical context Dreyer’s film opts to relate Joan of Arc’s story by focussing on her trial and execution and the suffering that went along with it. No sweeping shots of her military victories, no familiar backdrop, it assumes that its audience knows who we’re dealing with here and chooses to focus on her last days and how she suffered through them.…
I am not a religious man. Growing up, my mother took me to church because she felt she should, an obligation rather than any actual deep connection to a deity or the scripture that was referenced each week. My father would spend each Sunday morning out in nature, taking walks or just sitting and reflecting on the beauty of the world around him, thus he would rarely if ever join us at church. As I hated going and found the one hour to be painfully boring, absorbing nothing from the teachings of Jesus Christ, I finally spoke up and asked my old man why it was fair that I had to go and he didn't.
He explained that he did…
I never believed the hype. A film made in the 20s, a silent film made in the 20s, being declared by some to be the best film ever made? Sounds like something only a film historian could say. Sounds like homework, like you have to know about film in the 20s to see how this one sets itself apart. Yawn. At least it is only 82 minutes.
I believe the hype now, and I ain't no film historian.
Dreyer didn't want to tell the story of Joan of Arc, he wanted to tell the story of The Passion of Joan of Arc. If Joan is God's daughter, she met the same fate as her brother. Both had trials. Both were…
After a recent watch of Mexican director Carlos Reygadas’ wonderful Silent Light, and subsequent urging from LB friends to seek out Dreyer’s Ordet, it became apparent that it was time to tackle Dreyer’s The Passion of Joan of Arc from our list of shame as a warm up.
As a reference point, we watched the Criterion DVD with the Voices of Light musical accompaniment track. As another point of reference, my historical knowledge of Joan of Arc was woefully lacking, as is my knowledge of silent film.
I’ll just begin by saying that it’s visually arresting. The ability to see this startling beauty is due to the discovery of a near pristine original print in 1981 and subsequent Criterion restoration,…
''Will I be with You tonight in Paradise?''
An old English proverb states ''The eyes are the windows to the soul'', and never has that statement seemed so apt as it does with this astounding work from Carl Theodor Dreyer's silent era. Never have I seen such a powerful testament to faith under persecution as this film presents, with it's painfully tortured performance from Maria Falconetti as Jeanne d'Arc who embodies strength and devotion under heretical judgement even unto the bittersweet end.
The way Dreyer frames and focuses on the faces of his subjects is an inspired decision in finding the truth in the material and making the actors accountable to their performance. Every tear shed is like blade to…
There is hope and true life hiding behind the face of suffering and tears.
Full review for "Reviewing the Classics" at Reel World Theology: www.reelworldtheology.com/reviewing-the-classics-the-passion-of-joan-of-arc/
My thoughts on Carl Theodor Dreyer's Joan of Arc: moviefail.com/academia-abstraction-in-carl-theodor-dreyers-the-passion-of-joan-of-arc/
Oh, cinema. And its power. Resonant even in the beginning. And still.
This is an honest, compassionate and extremely rational and objective look at true faith, and it's reminded me of what I've always believed in, and made me question what I'd be willing to do for my faith and whether or not it would be the right or wrong thing to do. This has to be one of the most powerful films I've ever seen.
The deliberate constant use of tight shots until the final act is quite effective in showing the real people behind this tragedy. No specific character is the villain here. In fact, you can see the characters feel regret and desperation for Joan, but cannot bring themselves to believe or even forgive her.It is a poignant look…
Simple, but powerful. I was expecting to like this more given the Letterboxd rating and reputation as one of the best of all time, but only remains as mostly a technical triumph in my eyes; nothing I found that entertaining. The lead performance is incredible, but the film felt kind of boring and too depressing for my liking.
In short, another older film I admire more than enjoy personally.
Sublime in every way that it was made. This was my first experience with Dreyer, and I couldn't have been more impressed. There's not much more I can say that hasn't already been said about this movie throughout the history of film criticism and analysis. Dreyer's propensity to use close-ups/extreme close-ups and constant low-angle shots, as if the POV was told from the eyes of a child, are beautifully rendered and artistically thought-provoking. The shallow, unadorned backgrounds and bleached-out set give the film an effectively claustrophobic atmosphere, which also creates a fascinating juxtaposition against the very expressive faces of the characters, as if the walls represent a disinterested God.
I was slightly worried that a trial-film of this length might…
Compiled from transcripts of the 1431 trial of Joan of Arc (Renee Maria Falconetti), this is a brilliant examination of the power and limits of faith.
Alongside Ingmar Bergman, Carl Th. Dreyer is one of the most spiritual artists of the twentieth century. Bergman was obsessed with God's silence, Dreyer was focused on people who claimed to hear God.
Roger Ebert correctly said, "you cannot know the history of silent films unless you know the face of Renee Maria Falconetti." Her transcendent performance inspires and destroys. As we admire Joan's courage, our own pitiful attempts at faithfulness seem inconsequential.
An astonishing film, with two utterly amazing performances - one from each of Maria Falconetti's massive eyes. I'll confess that I found the endless close-ups and glacial pace punishing at times, but for once, 'punishing' seems entirely appropriate. We are looking into Joan of Arc's soul as it crumbles, and the director dares us not to look away.
After 90 minutes of staring into broken faces, the riots that close the film are electrifying - the shots of maces being passed down from castle windows as the flames rise around the stake are terrifyingly robotic. She's a saint! I'm a believer.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…