La Passion De Jeanne D'Arc

''The Passion of Joan of Arc'' () is a 1928 French silent historical 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,The Criterion Collection: ''Passion of Joan of Arc, The''
– Synopsis by Anonymous. Retrieved 22 March 2007. especially for its production, Dreyer's direction and Falconetti's performance, which is often listed as one of the finest in cinema history. The film summarizes the time that Joan of Arc was a captive of England, depicting her trial and execution.

Danish 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 did not allow the actors to wear make-up and used lighting designs that made the actors look more grotesque. Prior to its release, the film was controversial due to French nationalists' skepticism about whether a Dane could direct a film about one of France's most revered historical icons. Dreyer's final version of the film was cut down due to pressure from the Archbishop of Paris and government censors. For several decades, it was released and viewed in various re-edited versions that attempted to restore Dreyer's final cut. In 1981, a print of Dreyer's final cut was discovered in Dikemark Hospital, a mental institution just outside Oslo, Norway, and re-released.

Despite the objections and cutting of the film by clerical and government authorities, it was a major critical success when first released and has consistently been considered one of the greatest films ever made. It has been praised and referenced by many film directors and musicians. The film was voted number 4 on the prestigious Brussels 12 list at the 1958 World Expo.

As a work published in 1928, the film entered the public domain in the United States in 2024.

Plot

After having led the French in numerous battles against the English during the Hundred Years' War, Joan of Arc is captured near Compiegne and eventually brought to Rouen to stand trial for heresy by French clergymen loyal to the English.

On 30 May 1431, Joan is interrogated by the French clerical court. Her judges, who are on the side of the Burgundian-English coalition and against the King of France, 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 in the prison to the illiterate Joan, 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, Joan finally breaks and allows a priest to guide her hand in signing a confession. However, the judge then condemns her to life imprisonment. After the jailer shaves her head, she realises that she has been unfaithful to God. She demands that the judges return and she recants her confession.

As more and more around her begin to recognise her true faith and calling, she is permitted a final communion mass. She is then dressed in sackcloth and taken to the place of execution. She helps the executioner tie her bonds. The crowds gather and the fire is lit.

As the flames rise, the women weep and a man cries out, "''vous avez brûlé une sainte''" ("you have burned a saint"). The troops prepare for a riot. As the flames consume Joan, the troops and crowd clash and people are killed. A subtitle states that the flames protect her soul as it rises to Heaven.

Cast

Main characters

* Renée Jeanne Falconetti as Joan of Arc (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)
* Camille Bardou as Lord Warwick, the English captain in Rouen

Judges

* Michel Simon
* Jacques Arnna
* Alexandre Mihalesco

* Raymond Narlay
* Henry Maillard
* Léon Larive
* Henry Gaultier
* Paul Jorge

Production

Background

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 Marie Antoinette, Catherine de Medici or Joan of Arc. He claimed that the final decision on the film's subject was determined by drawing matches. Joan of Arc was in the news after World War I, having been canonized as a saint by the Roman Catholic Church in 1920 and named one of the patron saints of France.

Dreyer spent over a year and a half researching her; the script was based on the original transcripts of her trial, condensing 29 interrogations over the course of 18 months into one day.Wakeman. p. 268. In an essay for the Danish Film Institute, Dreyer stated what he had sought to achieve: "I wanted to interpret a hymn to the triumph of the soul over life."

The rights to Joseph Delteil's 1925 anti-conformist book on Joan were bought for the production. Nothing from Delteil's book was used in the film, but he was credited as a source.

Casting

Joan of Arc was Renée Jeanne Falconetti's second and last film role. Although she always preferred the theater to cinema and said she never understood the positive reaction to her acting, Falconetti's performance achieved iconic status almost immediately.Criterion. Interview with Hélène Falconetti.

Dreyer had gone to see Falconetti backstage at a performance of Victor Margueritte's '' La Garçonne'', a comedic play in which she was appearing. He was initially unimpressed, but upon seeing her a second time the day after, Dreyer said 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." Dreyer asked her to do some screen tests the next day, but without any make-up. During the tests, he "found in her face exactly what I wanted for Joan: a country girl, very sincere, but also a woman of suffering." Dreyer then told Falconetti about the film and her role in great detail. She agreed to star in the film, secretly hoping that she would not have to cut her hair or forgo make-up.

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. 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." Later in post-production, Falconetti was the only cast member to watch the rushes and the film's editing. According to 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.

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."

Cinematography

The camerawork of ''The Passion of Joan of Arc'' was highly unconventional in its radical emphasis on the actors' facial features. Dreyer shot much of the film in close-up, stating "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." Dreyer also did not allow his actors to wear makeup, the better to tell the story through their expressions—this choice was made possible through use of the recently developed panchromatic film, 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. Rudolph Maté's high-contrast cinematography also allowed unappealing details in people's faces, such as warts and lumps, to be fully visible. In addition, Dreyer employed many low-angle shot