100 Most Significant Political Films (Survey by Hoberman)
100. One Sings, the Other Doesn’t (1977), France, Agnes Varda
99. Fail Safe (1964), U.S., Franklin Schaffner
98. The Man Who Shot Liberty Valance (1962), U.S. John Ford
97. Germany Year Zero (1947), Italy, Roberto Rossellini
96. A Grin Without a Cat (1977), France, Chris Marker
95. I Am a Fugitive from a Chain Gang (1932), U.S. Mervin LeRoy
94. Weekend (1967), France, Godard
93. The World (2000), China
92. Tin Drum (1979), Germany
91. Syriana (2005), U.S. Stephen Gaghan
90. Investigation of a Citizen Above Suspicion (1970), Italy, Elio Petri
The Passion of Joan of Arc (French title: La Passion de Jeanne d’Arc), Carl Theodor Dreyer’s 1928 silent masterpiece, offers a visually stunning and emotionally touching record of the trial and execution of Joan of Arc.
Grade: A (***** out of *****)
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U.S. theatrical release poster
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| La Passion de Jeanne d’Arc | |
I am grateful to the late great critic Andrew Sarris who exposed me to this landmark in one of his classes at Columbia University.
The script was based on a selective use of transcripts of the proceedings of Joan’s trial.
Dreyer, working at the top of his form, made a crucial casting decision, choosing Renee Jeanne Falconetti for the title role. Sadly, Falconetti, a stage actress Dreyer found in a boulevard comedy, had not made another film.
Antonin Artaud, better known for his dramatic approach and theater work. also appears in the film as Joan’s brother, Jean Massieu.
The Passion of Joan of Arc is considered to be one of the greatest art films ever made, due to Dreyer’s meticulous direction, relying almost exclusively on close-ups, and Falconetti’s performance, one of the finest in film history.
The movie benefited from the timing of its release, only eight years after Joan was canonized, and a decade after the end of WWI.
Invited to make a film in France by the Société Générale des Films, Danish director Dreyer chose as his subject Joan of Arc, a figure revered in French history and mythology.
Dreyer researching thoroughly the transcripts of her trial before writing the script. Dreyer cast stage Falconetti, then a stage actress, is mesmerizing in her only major film role.
The film was shot largely in close-ups by ace cinematographer Rudolph Mate on a huge concrete set modeled on medieval architecture to resemble the Rouen prison.
Reportedly, Dreyer didn’t allow the actors to wear make-up and used exaggerated lighting designs that deglamorized the actors, often making them look strange and grotesque–by design.
The film was controversial due to skepticism about whether a Danish artist 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 pressures from clerical authorities and from government censors.
For decades it was released in various re-edited versions that had attempted to restore Dreyer’s final cut.
In 1981, a print of Dreyer’s final cut was discovered in a mental institution in Oslo, Norway.
The Passion of Joan D’Arc was a critical success, but commercial failure, when first released in Denmark, April 21 1928, and later in Paris, on October 25.
Credits
Directed by Carl Theodor Dreyer
Written by Joseph Delteil, Dreyer
Cinematography Rudolph Maté
Edited by Marguerite Beaugé, Dreyer
Music by Léo Pouget, Victor Alix
Distributed by Société Générale des Films
Release dates: April 21, 1928 (Denmark), Oct 25, 1928 (France)
Running time: 110 minutes (20 fps); 82 minutes (24 fps)
Language French (intertitles)
