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The Messenger: The Story of Joan of Arc (1999)

Joan of Arc (original title)
A young girl receives a vision that drives her to rid France of its oppressors.

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Cast

Cast overview, first billed only:
...
Stéphane Algoud ...
Look Out (as Stephane Algoud)
...
Bishop
...
English Judge
David Barber ...
English Judge
Christian Barbier ...
Captain
Timothy Bateson ...
English Judge
David Begg ...
Nobleman - Rouen's Castle
Christian Bergner ...
Captain
Andrew Birkin ...
Talbot
...
English Judge
John Boswall ...
Old Priest
Matthew Bowyer ...
The Bludgeoned French Soldier
...
Domremy's Priest
Bruce Byron ...
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Storyline

In 1412, a young girl called Jeanne is born in Domrémy, France. The times are hard: The Hunderd Years war with England has been going on since 1337, English knights and soldiers roam the country. Jeanne develops into a very religious young woman, she confesses several times a day. At the age of 13, she has her first vision and finds a sword. When coming home with it, she finds the English leveling her home town. Years after that, in 1428, she knows her mission is to be ridding France of the English and so sets out to meet Charles, the Dauphin. In his desperate military situation, he welcomes all help and gives the maiden a chance to prove her divine mission. After the successful liberation of Orléans and Reims, the Dauphin can be crowned traditionally in the cathedral of Reims - and does not need her anymore, since his wishes are satisfied. Jeanne d'Arc gets set up in his trap and is imprisoned by the Burgundians. In a trial against her under English law, she can't be forced to tell ... Written by Julian Reischl <julianreischl@mac.com>

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for strong graphic battles, a rape and some language | See all certifications »

Parents Guide:

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Details

Country:

Language:

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Release Date:

12 November 1999 (USA)  »

Also Known As:

The Messenger: The Story of Joan of Arc  »

Filming Locations:

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Box Office

Budget:

FRF 390,000,000 (estimated)

Opening Weekend:

$6,360,968 (USA) (12 November 1999)

Gross:

£94,012 (UK) (10 March 2000)
 »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

(unrated)

Sound Mix:

| |

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Giles de Rais (Vincent Cassel's character) was a real person who after the war and Joan's death retired to his lands. Years later, he was arrested for the murder of more than a hundred young boys and was executed. Some historians believe that his crimes became the basis for the French fairy tale "Bluebeard" about a rich man who murders his wives and hides their bodies in his grand house. See more »

Goofs

The coronation scene is a lovely period spectacle, certainly... but were we to nitpick, we could indeed...Let's see now, where do I start?

1) The shape of the bishops' mitres is too narrow and tall for the 15th Century France, and are more proper for 16th century Italy.

2) Why is the Dauphin still dressed in his ermine during the actual anointing part of the service? All the coronation ceremonies of the time (which still survive in the Roman servicebooks) specify that the monarch-to-be-crowned is vested in a white alb which covers the coronation outfit.

3) The bishop attending continue to wear their mitres during the anointing itself. Incorrect, as the ritual prescribes that the bishops remove their mitres for this section.

4) The bishop performing the anointing wears his gloves. Incorrect, because.... (look at next point)

5) Why on earth does the bishop officiating at the coronation hold the ampulla (phial) of oil and shake it about? The correct procedure is for the bishop to remove his gloves, dip the front fleshy part of his right thumb in the Blessed Oil (Oil of the Catechumens, for those of you into details) and anoint (rub in the form of a cross) both the palms of the monarch's hands, on the chest, between the shoulders, and on the crown of the head. He most certainly does not slosh it about like Holy Water. The coronation also has been severely shortened, understandable since this is a film, but one wishes it didn't simply present the ceremony as a splash and crowning.

Last point (as if those above weren't already enough) - the bishop officiating at the coronation has a Rosary in his left hand throughout. That's not supposed to be there, as it is not among the items a Bishop is to wear during any service. It's an item for private devotion. A shame, as the costumes and details of the churchy stuff for the most part wonderfully accurate. See more »

Quotes

[first lines]
Title Card: 1420. Henry V, King of England, and Charles VI, King of France, sign the Treaty of Troyes. The treaty states that the kingdom of France will belong to England upon the king's death. But the two kings die a few months apart. Henry VI is the new king of England and of France, but he is only a few months old. Charles VII, the Dauphin of France, has no intention to abandon his kingdom to a child nor even to his tutor, the Duke of Bedford. A bloody war begins and the English, along with...
[...]
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Connections

Referenced in Forget About It: Resident Evil (in general) (2011) See more »

Soundtracks

My Heart Calling
Lyrics and Music by Eric Serra and Noa
Produced by Eric Serra
Performed by Noa
With the Special Authorization of Interscope/Geffen
See more »

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User Reviews

imperfect but interesting film
5 August 2000 | by (United States) – See all my reviews

If it were not based on a true story, Luc Besson's `The Messenger: The Story of Joan of Arc' would be a tale filled with credibility gaps a mile wide. Since it is, however, a recounting of one of the world's most famous stories of military triumph and personal tragedy, the film actually generates the most interest when it concentrates on just those mind-boggling historical incredibilities.

Joan was, of course, the deeply devout, illiterate peasant girl who, spurred on by what she claimed were visions and voices sent directly by God - assuring her and France of a glorious victory over the advancing forces of the invading English army - managed to convince a desperate monarch to have her lead an army into the field, despite the fact that she brought with her no previous battle experience or even a rudimentary knowledge of the use of weapons in combat. We first see her as a young girl, strangely obsessed with religious piety, attending confession daily, running through the woods in a mad frenzy of ecstasy, encountering strange, inexplicable visions along the way, and, eventually, being driven to an intense hatred of the British by the rape and murder of her beloved older sister. We see the French royalty, so driven to desperation by the seemingly inexorable encroachment of the brutal British onto their native soil, that they lend credence to this child and give in to her demands, sending her out to lead the troops into what turns out to be some truly miraculous routs and victories. But glory is, more often than not, an ineffable entity that is lost as quickly as it is gained – and Joan learns tragically that, once her original goal of restoring the French monarch to his throne is achieved, her services are no longer of value, and she is allowed to be captured by the English, tried by the Catholic Church, and burned at the stake by the English government for the crime of witchcraft.

Given this fascinating and astonishing series of events, it would be difficult to make a film completely lacking in interest and insight. And, indeed, `The Messenger' is, perhaps, a better film than many of the harsh, almost bitter reviews by many critics would indicate. The first half of the film is a rather conventional telling of the tale. The warrior Joan often comes across as a shrill, petulant adolescent who somehow never convinces us that she is, indeed, someone all these military strategists would follow. But, about midway through the film, the screenwriters, Andrew Birkin and writer/director Besson, begin to apply some psychological depth to the character. After a particularly sanguine encounter with the English, in which hundreds of decapitated and limbless corpses strew the blood-soaked ground, Joan breaks down in despair over the horrifying inhumanity of the sight. From then on, her actions arise from a paradoxical conflict occurring within the very core of her being - between the righteousness of her pious cause, the pacifistic teachings of Christ and her single-minded devotion to her king and country. When she is finally captured and held in prison before and during her trial, she begins to question the veracity of her visions and to ponder whether the motivation for her cause really lay in divine inspiration or an obsession for personal glory and power. We're a long way from the astute psychological insights of Carl Dreyer's classic silent film version of the story, `The Passion of Jeanne d'Arc,' but `The Messenger' does take occasional time out from its action sequences to attempt to explore the question of whether Joan's miracles were the product of divine intervention or of mere happenstance and chance coupled with a determination and passion borne of insanity. Unfortunately, casting Dustin Hoffman as the Voice of Conscience who visits her in her cell and speaks for the side of reason as she descends more and more into seeming madness, renders much of this otherwise fascinating section faintly ludicrous. Every time his overly familiar face and voice arrive on the scene, we are immediately thrust out of the context of the story and find ourselves tempted to giggle out loud – hardly the tone one wants to establish as Joan of Arc marches grimly to the stake. Also, much of what he utters rings false in the context of the film's era; he sounds like he is mouthing psychobabble that would not arrive on the scene for at least another five hundred years.

In terms of dialogue, historical films have always it seems had to face an inevitable Hobson's Choice: should the writers employ language that reflects the reality of the time, thereby making the characters sound stilted or dated by today's standards, or should the authors resort to the use of more modern vernacular, enhancing the immediacy of the story, perhaps, but also possibly creating an uncomfortable and awkward sense of anachronism that weakens the verisimilitude of the film so painstakingly established by the elaborate set decoration and costume design of the film? The writers of `The Messenger' have, for the most part, taken the latter course, leading to mood-shattering declarations by the characters such as `she's nuts!' and `I'm gonna kill that f------ bitch' along with a barrage of four-letter word expletives with which no contemporary PG-13 or R-rated feature could ever do without.

Those with a queasiness when it comes to movie violence had best be forewarned: the battle scenes, though expertly shot and edited, register high on the bloodletting scale.

Of the performers, none matches in quality the exquisite photography, art direction or costume design that adorn the film. Milla Jovovich is, at best, adequate as Joan, rarely giving more than a surface interpretation of the complex psychological struggles occurring at the root of her personality. John Malkovich, as the would-be French king, for whose throne Joan lays her life on the line, has his moments, but the part is not really big enough in the context of the film to allow him to create a multifaceted performance. Faye Dunaway brings a cool, subtle intensity to her role as the future king's manipulative mother-in-law.

`The Messenger' emerges as an ultimately unsatisfying mixture of faults and virtues, yet, because it has such a fascinating story to tell, the film is far more interesting than the brutally hostile reviews that greeted the work's initial release would lead one to believe.


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