The Passion of Joan of Arc
Ohjaus:
Carl Theodor DreyerKäsikirjoitus:
Carl Theodor DreyerKuvaus:
Rudolph MatéNäyttelijät:
Maria Falconetti, Eugene Silvain, André Berley, Maurice Schutz, Antonin Artaud, Michel Simon, Jean d'Yd, Alexandre Mihalesco, Léon Larive, Jean Aymé (lisää)Suoratoistopalvelut (3)
Juonikuvaukset(1)
Spiritual rapture and institutional hypocrisy come to stark, vivid life in one of the most transcendent masterpieces of the silent era. Chronicling the trial of Joan of Arc in the days leading up to her execution, Danish master Carl Theodor Dreyer depicts her torment with startling immediacy, employing an array of techniques—including expressionistic lighting, interconnected sets, and painfully intimate close-ups—to immerse viewers in her subjective experience. Anchoring Dreyer’s audacious formal experimentation is a legendary performance by Renée Falconetti, whose haunted face channels both the agony and the ecstasy of martyrdom. (Criterion)
(lisää)Arvostelut (4)
With a well-chosen live musical accompaniment (applause for the BERG orchestra), even The Passion of Joan of Arc can be a riveting experience. This treatment of Joan’s suffering has, of course, an unwavering place in film history, and is just as naturally one of the most frequently adapted themes. However, it is precisely because of Dreyer's minimalist solution that the paradox of the interpretation of her unwavering faith rises a little more sharply to the surface. If I look back at the whole range of different projects, starting with Méliès and the Czech musical, as I have done so many times, I must single out Joan of Arc (1935) as unique among them all.
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We won't depart from the closeups of faces, from the extra raw emotions, and unfortunately also from depression for depression's sake, because we all know where the main heroine begins in the plot, what she will have to endure, and where she will be forced to go. But that's where my objections begin and end. For a nearly hundred-year-old film, I gaped at it in amazement for a whole hour and a half, as if it were some sacred icon, because it looks better in terms of actors, camera, or editing than films made decades later, which is unheard of and miraculous in the first half of the twentieth century.
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The film, which you can see with various musical accompaniments, because Dreyer himself did not specify a definitive version of the soundtrack anywhere. My almost choral version, found in the original from the 80s in a mental institution, is incredibly pompous and emotional. Dreyer cuddled with the faces of individual actors and especially with the actress playing Joan of Arc through the camera. Thanks to this, he managed to incorporate incredible expressionism into the film, which is also given by the acting abilities of Maria Falconetti, who despite this was primarily a theater actress. Do not expect an epic historical film, but a recording of the trial with Joan and her subsequent death.
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The narrative, based on close-up shots of exuberant characters, has an indescribable power thanks to the typologically precise cast and superb performances, as does the idiosyncratic direction at the intersection of several filmmaking movements and approaches of the time, but as the minutes tick by the magic wears off, and since it's clear how it all will end, the whole film seems more like a patient demonstration of contemporary directorial skill than a compelling story of fate. Anyway, the additional music is phenomenal.
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