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The Passion of Joan of Arc (1928)

La passion de Jeanne d'Arc (original title)
Not Rated | | Biography, Drama, History | 25 October 1928 (France)
In 1431, Jeanne d'Arc is placed on trial on charges of heresy. The ecclesiastical jurists attempt to force Jeanne to recant her claims of holy visions.

Director:

Carl Theodor Dreyer (as Carl Th. Dreyer)
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Cast

Complete credited cast:
Maria Falconetti ... Jeanne d'Arc (as Melle Falconetti)
Eugene Silvain Eugene Silvain ... Évêque Pierre Cauchon (Bishop Pierre Cauchon) (as Eugène Silvain)
André Berley ... Jean d'Estivet
Maurice Schutz ... Nicolas Loyseleur
Antonin Artaud ... Jean Massieu
Michel Simon ... Jean Lemaître
Jean d'Yd Jean d'Yd ... Guillaume Evrard
Louis Ravet Louis Ravet ... Jean Beaupère (as Ravet)
Armand Lurville Armand Lurville ... Juge (Judge) (as André Lurville)
Jacques Arnna Jacques Arnna ... Juge (Judge)
Alexandre Mihalesco Alexandre Mihalesco ... Juge (Judge)
Léon Larive Léon Larive ... Juge (Judge)
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Storyline

Giovanna is taken to the Inquisition court. . After the accusation of blasphemy continues to pray in ecstasy . A friar thinks that Giovanna is a saint, but is taken away by the soldiers. Giovanna sees a cross in the shadow and feels comforted. She is not considered a daughter of God but a daughter of the devil and is sentenced to torture. Giovanna D 'Arco says that even if she dies she will not deny anything. The eyes are twisted by terror in front of the torture wheel and faint. Giovanna is taken to a bed where they are bleeding. Giovanna feels that she is about to die and asks to be buried in a consecrated area. Giovanna burns at the stake while devoted ladies cry. Written by luigicavaliere

Plot Summary | Plot Synopsis

Taglines:

Mlle. FALCONETTI The World's Most Outstanding Screen Artist See more »


Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French

Release Date:

25 October 1928 (France) See more »

Also Known As:

The Passion of Joan of Arc See more »

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Box Office

Opening Weekend USA:

$6,408, 26 November 2017

Gross USA:

$21,877
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

| (1952 re-release) | (restored DVD) | (DVD) | (Blu-ray)

Sound Mix:

Silent

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

This film is part of the Criterion Collection, spine #62. See more »

Goofs

The soldiers wear helmets with modern chin strap fasteners (likely WW1 British infantry helmets). Those helmets could be a deliberate anachronism though. See more »

Quotes

Juge: How old are you?
Jeanne d'Arc: [counts on her fingers] Nineteen... I think.
See more »

Alternate Versions

In 1981 a print was discovered in a closet of a mental institution in Oslo, Norway. The film was sent to the Norwegian Film Institute where it was found to be a copy of the original 1928 version with Danish intertitles. Uncensored prints were shipped to Copenhagen, and were not censored there, making the discovered print the defining version. See more »

Connections

Referenced in Fahrenheit 451 (1966) See more »

Soundtracks

Voices of Light
Written by Richard Einhorn
The score used in the 1995 version
See more »

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User Reviews

Sensory Shift
16 September 2004 | by checynSee all my reviews

This film almost leads one to believe that sound betrays the emotion the eyes capture. Just as the blind develop hearing far better than the average, the deaf develop a keen sense of sight. I am convinced that a lack of dialogue forces us to read the language of the face and body, a verbage unmatched in beauty and nuance. Though the accompanying musical piece (be careful not to identify it as a score), so deliciously inspired by the film, enhances the visual playground; it is the actors' faces that comprise this tour de force. Ms. Falconetti shifts from worry and doubt to unabashed conviction in a single shot, giving the viewer the luck of seeing one's thoughts in progress. She needs no response to the interrogation, it's all in her face. Renee is not superficially beautiful and the lack of make-up only reinforces how bare Joan is, but it is the uncanny ability of an incomparable stage actor to be a window into the soul that makes her so stunning, for the soul we see is one we only wish to attain for ourselves. The Church sees what we see, and they respond just as clearly to her unspoken protest with vehement pomp. The cinematography is so astounding for its time no comment could ever do it justice. Though many comments can be made, and are, surrounding the inspiration and detail for the set, it is at its core an incredible gift from Dreyer to the actors meant to inspire. It plays little part in the film, but to pull an inconceivable last drop of reality from the actors. A testament I can imagine will never be matched to the incredible power of silence.


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