The Passion of Joan of Arc (1928)

aka La Passion de Jeanne d’Arc / Jeanne d’Arc’s lidelse og død

2015 #69
Carl Th. Dreyer | 96 mins | Blu-ray | 1.37:1 | France / silent (Danish) | PG

The Passion of Joan of ArcWidely regarded as one of the greatest movies of all time (look at the lists!), Danish director Carl Theodor Dreyer’s French-produced silent movie depicts the last hours in the life of Joan of Arc (Falconetti), a nineteen-year-old who is on trial by the Church for claiming God instructed her to fight to free France from British rule. You probably know it doesn’t turn out well for her.

Such a summary, while not inaccurate, is almost disingenuous. “This is by all odds the least religious and least political Joan ever made,” write Jean and Dale D. Drum (in a piece included in the booklet accompanying Masters of Cinema’s Blu-ray release), because Dreyer was explicitly not interested in the political or theological issues of the trial, which he felt were no longer relevant by the 20th Century. As he wrote in 1950, “I have tried to show that people in the medieval tragedy were, behind their historical costumes, people just as you and I are, caught up in the web of political and religious opinions and prejudices of the time.” With those religious and political issues set aside, Dreyer was instead focused on the universality of Joan’s experience as a human being. He was attempting to relate the tale — and, more importantly, the emotions — of a young woman sure of her convictions but persecuted for them.

Jeanne d'ArcDreyer based his telling on the written records of Joan’s trial. Although that’s grand for claims of historical accuracy, it’s hard to deny that silent cinema is ill-suited to thoroughly portraying something dialogue-heavy. There are many things silent film can — and, in this case, does — do very well indeed, but representing extensive verbal debate isn’t one of them. Bits where the judges argue amongst themselves — in silence, as far as the viewer is concerned — leave you longing to know what it is they’re so het up about. Sometimes it becomes clear from how events transpire; other times, not so much.

Dreyer’s faithfulness was not in aid of precisely representing what happened, however. For instance, the film takes place over a day or two, at most, while in reality Joan’s imprisonment, trial and execution took most of a year. Events were condensed so as to provide “a kind of bird’s-eye view, where all the unnecessary elements disappear” (Dreyer, quoted by Drum & Drum). This was partly in aid of what Dreyer described as “psychological realism”: rather than slavish fidelity to the facts of the era, it was about accurately and universally conveying the human experience.

According to Chris Marker (also in Masters of Cinema’s booklet), the aesthetic element of achieving this goal is one reason the film has endured so. Dreyer’s efforts to make the events seem ‘present’, as opposed to historical, works to make the film eternally present; they help it to transcend not only the 15th Century, but also the more recognisable trappings of “a silent-era movie”. The actors wear no make-up, perform in sparsely-decorated setsneutral costumes on sparsely-decorated sets, and are almost entirely shot in close-ups — all elements that avoid the usual grandiosity of historical movies, both in the silent era and since. What we perceive as being ‘grand’ changes over time (things that were once “epic” can become small scale in the face of increasing budgets, for instance); pure simplicity, however, does not age much.

The near-constant use of close-ups, in particular, is one of the film’s most renowned elements. Dreyer was inspired by D.W. Griffith’s Intolerance, feeling this was an area film could excel in a way theatre obviously couldn’t. For Dreyer’s goal of giving us access to Joan’s very soul, it’s arguably the perfect medium — eyes are the window, and all that. This hinges on Falconetti’s acting. In her only major screen appearance, she delivers a performance that is still considered one of the greatest ever. It’s hard to pinpoint what she’s doing, but her wide eyes and almost crazed expression convey more subtlety than that sketched summary might imply. She is Joan, you feel, which again was Dreyer’s goal: he wanted his cast to inhabit their characters; to be them. He insisted the words from the trial record were spoken accurately (even though they obviously couldn’t be heard by the audience) and he built a whole 15th Century city set so that the actors might feel they were really there. As the film is shot largely in close-ups, that feels like a stupendous waste of money; and it led to the crew having to drill holes in walls and dig pits in the floor in order to get the shots Dreyer desired. But hey, whatever works.

JudgesThe actors playing the judges may be less individually memorable than Joan, but it’s their conflict — the personal battle between Joan and these men, as Dreyer saw it — that drives the film. Dreyer believed the judges felt genuine sympathy for Joan; that they did what they did not because of politics (they represented England, and she had led several successful campaigns against the Brits) but because of their devout belief in religious dogma. Dreyer says he tried to show this in the film, though it strikes me the judges still aren’t portrayed too kindly: they regularly seem contemptuous of Joan, and are outright duplicitous at times. Maybe that’s just religion for you.

Despite being one of the film’s most famed elements, Joan isn’t entirely constructed of close-ups. When Dreyer breaks free of such constraints, the dynamic camerawork on display transcends many people’s view of silent cinema. A swinging pan as maces are dropped from a window was a personal highlight, but there are some great, dramatic push-ins during the trial. That’s just the tip of the iceberg. There’s the editing as well: it’s surprisingly fast-cut at times, and the use of montage for some sequences (particularly in the torture chamber and the epic climax) makes for stunning visual cinema.

Reportedly Dreyer’s preferred soundtrack was complete silence, which makes sense given his other aims and views on depicting realism rather than interpretation. That sounds a little like an endurance test, however, and so of course the film is usually presented with a score. In the US, it’s now routinely accompanied by Richard Einhorn’s Voices of Light. Clearly it’s a noteworthy soundtrack because it feels like the vast majority of reviews and comments online make reference to it. Masters of Cinema’s Blu-ray doesn’t include it, What's at stake?however, so I have no opinion. Instead, they offer two alternatives. On the correct-speed 20fps version, there’s a piano score by silent film composer Mie Yanashita. Apparently this is the only existing score set to 20fps, and Masters of Cinema spent so much restoring the picture that there was no money left to commission an original score. Personally, I don’t think they needed to. Yanashita’s is classically styled, which works best for the style of the film, and it heightens the mood of some sequences without being overly intrusive, by and large. Compared to Dreyer’s preferred viewing method, of course it affects the viewing experience — how could it not, when it marks out scenes (with pauses or a change of tone) and emphasises the feel of sequences (with changes in tempo, for instance). That’s what film music is for, really, so obviously that’s what it does. Would the film be purer in silence? Maybe. Better? That’s a matter of taste. This particular score is very good, though.

The Masters of Cinema disc also includes the film in a 24fps version, which is how it used to be presented most of the time (what with that being the standard speed for so long; it’s also the version Einhorn’s score was written for). I watched just the climax at that speed, and I’d agree with the scholarly consensus that it’s clearly running too fast. If it was the only version you knew, you might not notice; but in direct comparison, people are clearly moving unnaturally fast and the pacing of camera moves and edits feels off, like there’s not quite long enough to appreciate what you’re being shown. At 24fps the Blu-ray includes an avant-garde score by Loren Connors. It feels apocalyptic and so, in its own way, is somewhat appropriate, but it’s far too dissonant for my taste. I can’t imagine enduring it for the entire film, even at the commensurately shorter running time. Silent London’s review describes it as “tedious and barbaric… insensitive and intrusive”, and advises first-time viewers to “steer well clear.” I concur.

Close-upSome viewers describe how they’ve found The Passion of Joan of Arc to be moving, affecting, or life-changing on a par with a religious experience. I wouldn’t go that far, but then I’m not religious so perhaps not so easily swayed. As a dramatic, emotional, film-viewing experience, however, it is highly effective. As Dreyer wrote in 1950, “my film on Joan of Arc has incorrectly been called an avant-garde film, and it absolutely is not. It is not a film just for theoreticians of film, but a film of general interest for everyone and with a message for every open-minded human being.” A feat of visual storytelling unique to cinema, it struck me as an incredible movie, surprisingly accessible, and, nearly 90 years after it was made, timeless.

5 out of 5

The Passion of Joan of Arc was viewed as part of my What Do You Mean You Haven’t Seen…? 2015 project, which you can read more about here.

It placed 14th on my list of The 20 Best Films I Saw For the First Time in 2015, which can be read in full here.

Also of note: this is the 1,000th feature film review I’ve published. (For what it’s worth, 2015 #112 will be 100 Films #1000. I’ll probably reach that in August.)

May 2015

Holy moly, how is it June already?! Where’s 2015 going?

Anyway, let’s have a look back at May. We begin this month with the return of…

What Do You Mean You Haven’t Seen…?

Yep, after a couple of months off, I made the effort to get a WDYMYHS film in. On the 584th anniversary of the events it depicts, I watched Carl Th. Dreyer’s 1928 classic The Passion of Joan of Arc. As a film with wide acclaim and high positions on “greatest films ever lists”, it’s a daunting prospect that one worries might be a little ‘worthy’. But, as with some other films in the same position, such as Citizen Kane, it turns out it’s quite incredible and deserving of its adulation.

Now, I’m still behind on this (I should’ve watched five by now and have only managed three), but at least this is a step in the right direction. Hopefully I’ll make the time for a couple next month. I’ve watched three of the four shortest already, which is a downside when it comes to squeezing them in, but I also have most of the ones that (I assume) are more accessible still to go.

Shutter IslandMay’s films in full

#60 The Eagle (2011)
#61 Forty Guns (1957)
#62 21 Jump Street (2012)
#63 Star Wars Begins (2011)
#64 Red Sonja (1985)
#65 Alan Partridge: Alpha Papa (2013)
#66 Robot & Frank (2012)
21 Jump Street#67 Hummingbird (2013), aka Redemption
#68 Behind the Candelabra (2013)
#69 The Passion of Joan of Arc (1928), aka La Passion de Jeanne d’Arc
#70 Bullet to the Head (2012)
#71 Building Empire (2006)
#72 Seven Psychopaths (2012)
#73 Shutter Island (2010)
#74 Pursuit to Algiers (1945)

Viewing Notes

  • Also: I watched the first hour of Fitzcarraldo, by which point I was falling asleep (only partly due to the film). After that, I didn’t feel like resuming it. One day.
  • As with March, there are a good few choices here that were thanks to TV premieres: Alan Partridge, Robot & Frank, Hummingbird, Bullet to the Head, Seven Psychopaths, and Shutter Island. Must be that time of year.
  • Star Wars Begins and Building Empire are the first two in a trilogy of “filmumentaries” about, naturally, the original Star Wars trilogy, which I’ve been watching alongside a re-watch of the same. Expect the third, Returning to Jedi, to be on June’s list, while my reviews will likely appear in the run up to The Force Awakens in December (so, probably over a long weekend on my advent calendar, then).


Even before I’d watched a single film, this was the furthest I’d ever reached by the end of May. (The previous best was #57 in May 2010.) The baton is passed on, however: #74 is not only the furthest I’ve ever reached by the end of May… or June… but July! (The previous best was July 2010.)

In other achievements, watching 15 new films upholds my run of 10+ months, now for twelve months — that’s a whole year, donchaknow. Next goal: a full calendar year. Only seven months to go… In terms of previous Mays, it’s not the best ever — that’d be 2010, whose 16 is joint-third highest ever. However, it does beat last year’s tally of nine, and also passes the May average of 11.29, increasing it to 11.75 in the process. It maintains the ever-(slightly-)increasing 2015 average, pulling it up from 14.75 at the end of April to 14.8 now.

Looking ahead with my ever-accurate predictions, if I can maintain 10 per month I’ll reach at least #144 by year’s end. That number continues to increase as month after month not only equals 10 but surpasses it, so, a disastrous failure notwithstanding, 2015 should set a new record for my final total. If my current monthly average continues, that total will be a previous-best-obliterating 178. It still sounds unlikely, but that particular number’s been settling down (after 192 in January, it’s gone 174, 176, 177, and now 178), so you never know.

This month’s archive reviews

Another 25

Next month on 100 Films in a Year…

Halfway through 2015; three-quarters through 100 Films.