Rating: 
Summary: The Passion of Joan d'Arc Will Invade Your Subconcious Mind
Review: This is a film that takes ahold of your imagination and never lets go. The superb direction takes it out of the realm of even fine films because there isn't a frame that is not without an image that freeze frames in your mind. The black and white photography is so brilliant you remember it as color. The lighting proves once again that while we have technology now we have few talented cinematographers. The actors do not need voices--they can simply give a glance, make a gesture and you know the French words written in the subtitles. Maria Falconetti's face and her eyes will look at you long after the film is over. She conveys every emotion needed, never overdoing it or missing an opportunity to provide a subtle movement that conveys years of information about her life. The new Visions of Light score gives this black and white silent film a voice and color. It matches the intensity of this film. And after the film is over, you will go back to it again and again to touch that essence that is genius. That thing that has really been lost in the technology and 15 minutes of stardom our world promises us can be seen and touched in this film. It is what a film should be. A great film.
Rating: 
Summary: the greatest ever
Review: Not exactly a cinema buff, this film has shaken me in a waythat no other cinema piece has approached. The backside is that allother movies pale by comparison, seeming loud, trivial, like child`s play, compared to this intense, stunning masterpiece that chills to the marrow with each minute. Were Amazon to give me one 6 star to issue in any category, this would be the one. END
Rating:
Summary: A great film, a great disc.
Review: The Criterion Collection tops themselves with this disc, to Carl Th. Dreyer's silent masterpiece "The Passion of Joan of Arc." The Criterion disc has a 5.1 audio track of Voices of Light, which was based upon this film. Watching the film and listening to Voices of Light is something of a miracle...the two were meant to be played together.The Criterion transfer is unbelievable. Silent films had different aspect ratios (sometimes 1.1:0,) and Criterion does NOT crop their films, thankfully...they show the film in its exact aspect ratio. The transfer for a film nearly 80 years old is something of a miracle. The images are crystal clear...and Dreyer's vision can be seen in pristine condition. Bravo Criterion for making an A+ disc.
Rating:
Summary: The strangest thing...
Review: This truly is one of the most powerful experiences ever put on film, and easily one of the most powerful of screen performances by Falconetti. Absolutely. But the strangest, and maybe even most wonderful, thing about this picture is that it is ADDICTIVE. At least for me anyhow, certainly not for everybody. Something about this film seems to make me want to watch it over and over, almost relentlessly. I'm a huge fan of austere and often slow moving works of film, such as everything by Ingmar Bergman and Andrei Tarkovsky, but I wouldn't call their work addictive. Brilliant, yes...but not addictive. But somehow, Dreyer has done that with this film. For me at least. And it is even more so with Richard Einhorn's new score, which is absolutely incredible. Anyhow...yeah, that's what I've got to say about that.
Rating:
Summary: Simply One of the Best
Review: The genius of this film is that so much of the story is insinuated. There is little in the way of action - as moviegoers of today expect action -but what does happen is unbearably painful to endure. The camera, in close-up, jumps from accusing inquisitor to Joan's reaction, then back to her accuser, then to her, over and over, building up unbearable suspense. One is truly set on the edge of their seat, stealing themselves against what terrible things are certain to happen next. The use of close-ups heightens every emotion wrenched from the actors. And Dreyer indeed wrenched emotion from his actors, working ceaselessly until emotions were not acted, but came naturally. No makeup was used; the faces of the judges are presented in all their wrinkled, warty reality. But the movie is truly Falconetti's. She is a marvel, an actress of bottomless talent and natural genius who manages to capture every shade of human suffering within her astounding eyes. (You cannot help but suffer with her, it is impossible. When she recanted her confession, dooming herself to death, I literally gasped in despair.) Within this film are some amazing vignettes, such as a shot of a skull by an open graveside flanked by a sturdy wildflower (symbolizing the finality of death and the tenacity of life,) the scene in which Joan's hair is cut close to her scalp before her execution, (this scene was not faked, Falconetti's hair was truly butchered as the film crew looked on in tears,) and the scene in which she is tied to the stake. The executioner fumbles with the knot binding her left hand, dropping it. Falconetti looks on in dismay, then gathers the rope together in her freed hand and obligingly hands it back. After the flames are lit, Falconetti's eyes portray a sheer, naked terror far more graphic than any bloody gore. Her suffering is real. She sweats, she is panicked. She is all too aware of her pain. Watching this film is a wrenching emotional experience and will remain with you for a very long time. (A note about the highly praised soundtrack: it is marvelous, yes, a great improvement over the heavy-handed Albinoni Adagio and Bach used previously, but I confess did not hear much of it at all once I became involved in the movie.)
Rating:
Summary: An Amazing Restoration
Review: I have to point out that I own a video version of this film, put out by "Video Images"--a company which consistently releases poor-quality versions of classic films by Eisenstein, Godard, etc. The Criterion Edition DVD by Janus/Home Vision Cinema is literally a miracle compared to the previous version. The new musical accompaniment I expected to be too modern and "ethereal-sounding," but it is moving, appropriate, and dramatic. I would recommend this film highly to those ESPECIALLY who love silent films but are often put off by the exceptionally poor quality in which these films are released today.
Rating:
Summary: Amazing
Review: I watched this film the first time as a part of a class on Saint Joan and the mystics. It was the most amazingly well acted silent film I have ever seen. Granted I have not seen that many, but Renee Falconetti was incredible in this film. I have heard it with the original soundtrack, and with Einhorn's Voices of Light soundtrack. The difference is palpable. I would definitely suggest that Einhorn's soundtrack be listened to when viewing the film. It makes a world of difference.
Rating:
Summary: Amazing
Review: I watch 'Joan of Arc" tonight and was astounded that it was made in 1928! I was struck by the contrast with period films now...and then..ei: "Braveheart", for example, with such a quest for realistic horror of the times seemed so manufactured compared to this black and white film made 50 years ago! I was terrified during the realistic second half of the film. Perhaps it's the difference between and artist and a film-maker. I was also struck by the inquisition by all the men against this sole woman. It makes me want to know what the real Joan was like...she's a figure in history that has always intrigued me. I feel Falconetti portaryed the Joan I have always imagined. There was one thing in the movie that startled me... a small thing that almost ruined it for me, if it weren't for the powerful climax. During the scene when she's taking communion, the camera pans the row of priests, and one of them is wearing glasses! I stopped the film and re-ran it to make sure I wasn't imagining it. Not a pair of primitive glasses that maybe you could, with a stretch, believe were 13th century, but regular 20th century plastic framed glasses! Dreyer obviously strove for perfection in detail so you felt you were witnessing actual events, how could he make this slip! I wished they would have edited it out when they restored the original film, it broke the continuity for me. Einhorn's score added to the drama, but I was so mesmerized by Falconetti that often I wasn't aware of the soundtrack. A must-see for anyone who loves great film-making.
Rating:
Summary: imformed by catholic faith
Review: 'the passion of joan of arc' is a perfect title for this lovely film--see it and you will realize how the passion of Joan mirrors the passion of our Lord Jesus Christ. in this film, Joan, like Christ was 'dumb before (her) accusers, speaking not a word'. Joan is mocked like Christ, she is accused of casting out demons by the prince of demons, she receives a crown like a crown of thorns. as Christ suffered in the garden, joan suffers christ's agony in her cell. Joan even gives a bowl of her own blood, as Christ gave his blood at the last supper. and Joan dies on a tree, in fire. I won't comment on the brilliant technical aspects of this movie, which are all thoroughly covered by the other viewers. but the theology of 'passion of Joan of Arc' is essential for anyone to understand the Catholic doctrine of the Communion of Saints. the joan in this film teaches us the most fundamental principle of catholic life--the imitation of Christ, especially in the dark night of the soul and the redemptive value of suffering--in taking up our cross every day and following Him in His sorrowful passion. this is the joan of arc against which all other versions must be measured... and found lacking. it is a pity the new film, 'the messenger' lacks the faith or understanding of the catholic spiritual journey portrayed in this old silent film. perhaps it's too much to ask for a modern man to remember the faith and fervor of his youth. the contrast between the two films is a searing comment on our times and the disintegrating faith of the west in our modern church.
Rating:
Summary: Oh... my... God...
Review: The Passion of Joan of Arc is beyond what words can describe, and with the addition of Einhorn's Voices of Light.... *speechless* My paltry attempt to describe the effect this has had on me follows: This is truly a masterpiece. The first half was truly incredible for me to experience, and from my first glance I was riveted and *could not take my eyes off the screen*. The camera angles and shots were astounding and marvelously done; Falconetti gives a masterful performance (her tremendously expressive eyes may be too intense for most people to handle though). The portrayal of the inquisitors was very harsh, but that is what they were like back then. As a Catholic, I am very proud of how this was portrayed - as _truth_, never mind what most Catholics think, never mind how they would rather sweep this under the rug and pretend the higher-ups could never be like this. I see the Holy Mother Church behaving in the same way these days, towards its women - we are wanting to do more and are not being allowed to by the "good old boys club." Maybe this is the reason Jehanne has surfaced again at this time, to show how little humanity has progressed in being/becoming fully human, both back in her time and even now? I bought the CD the other month and was immediately entranced by the music. I have a degree in music education, and only one thing I heard in my undergraduate years (Poulenc's opera, The Dialogues of the Carmelites) even comes close to the musicality of this work, to moving me in the same way that this has. That even pales to Einhorn's masterpiece, in my opinion. It is SO totally different, viewing this movie when you know the music so well, and you know the intent and meaning behind the lyrics chosen... and you see the differences in the music with what's portrayed on the screen, what actually happened in real life according to the extremely accurate trial records. The music is the inner dialogue of what was going on spiritually and metaphysically, within and surrounding Jehanne (via her three saints), and the music paired up with what went on around her with the inquisitors and the trial, absolute WOW! From the eighth track (Sacrament) on, I was absolutely devastated, both emotionally and physically. To see her voluntarily give up the one thing she held most dear in her life, to follow God's will.... so intensely powerful and moving, how this was portrayed. My heart not only absolutely broke in half, but it was exquisitely shattered into a bazillion pieces, over and over and over again. I am so glad that no one else was here to witness my catharsis, to see me breaking down in a state of almost reliving these scenes (that's how vivid this film is!), to hear my *very* vocally audible wailing and weeping and gnashing of teeth during the entire second half, to see me shaking uncontrollably throughout the whole movie (and it's not just due to the cold weather!), not knowing exactly why at times even but having these reactions simply because this experience moved me in such a profound way... and the use of the term "profound" doesn't even begin to scratch the surface of the extremely thin layer at the top of this smoldering volcano. (Heh, fire fire!) I appreciated the lack of voices in the music during her abjuration, only to hear them come back after she recanted - very nice touch! The musical lines and vocal work in both Karitas and Anima especially reminded me a lot of Dialogues of the Carmelites, in that one solitary nun at the end of that work was true to herself as well, and with what that opera portrays combined with the music in these two pieces that reminded me VERY much of this other work, and what was happening in the film at this same time.... truly incredible. The scene at the marketplace during and after the burning had me awesomely silent and dumbstruck because these events actually historically happened, and if it was not like this then it sure as hell must have been extremely close. Powerful powerful stuff. If you have the CD, the only noticeable differences in the music are instrumental additions in several places (after Homasse I believe, and at least during one other time). The jailers' theme also comes back in the film, in between the Pater Noster and the Torture tracks. The Torture part was slower in tempo on the video than it's portrayed in the CD. The CD is slightly less than 74 minutes long; according to the box the film is 82 minutes long. VERY moving, either way, and there is nothing majorly big lost just by listening to the CD. The meat of the music is all there still, but to get the true, full effect, this work of art is a must see. I also liked how the video had the libretto to the music included with it, and that the video also featured a segment with Richard Einhorn and Anonymous 4 after the movie ended. I also immensely enjoyed the segment after that about the process of restoring the damaged film. This is TRULY, truly a must have, for film buffs, historians, and musicians equally especially. You will never be the same after watching this, I guarantee. It's been almost two hours since the tape rewound, and I am still in shock and recovery and absolute AWE! I expect that I will be for some time. All the stars in the universe are not enough to rate this combined work.
|
