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17 user 5 critic

Joan the Woman (1916)

A WWI English officer is inspired the night before a dangerous mission by a vision of Joan of Arc, whose story he relives.

Director:

Cecil B. DeMille

Writers:

Jeanie Macpherson (scenario), William C. de Mille
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Cast

Cast overview, first billed only:
Geraldine Farrar ... Jeanne d'Arc (Joan of Arc)
Raymond Hatton ... Charles VII
Hobart Bosworth ... Gen. La Hire
Theodore Roberts ... Cauchon
Wallace Reid ... Eric Trent 1431 / Eric Trent 1917
Charles Clary ... La Tremouille
James Neill ... Laxart
Tully Marshall ... L'Oiseleur
Lawrence Peyton Lawrence Peyton ... Gaspard
Horace B. Carpenter ... Jacques d'Arc
Cleo Ridgely ... The king's favorite
Lillian Leighton ... Isambeau
Marjorie Daw ... Katherine
Ernest Joy Ernest Joy ... Robert de Beaudricourt
John Oaker John Oaker ... Jean de Metz
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Storyline

John Trent, a World War I British officer, finds an ancient sword in his trench bunker just prior to volunteering for what will amount to a suicide mission the next day. That night he is visited by the spirit of Joan of Arc and is transported back to the 15th Century. Joan's career begins when, as a peasant girl, she meets Trent's ancestor, also an English soldier, fighting for the Burgundians. After Trent is captured, Joan is brought to the attention of the beleaguered Dauphin, heir to the French throne, who cannot be crowned because the English hold the royal city of Orleans. The weak Dauphin is impressed by her vision and apparently heaven-sent powers which border on the supernatural and ultimately gives her command of the armies. She is victorious at Orleans and the new King is crowned. Joan resists Trent's entreaties of love and continues her struggle to free the rest of her country from English occupation. Sinister forces, both English and French, conspire against her and she is... Written by Gabe Taverney (duke1029@aol.com)

Plot Summary | Add Synopsis

Taglines:

Based on the life of the immortal Joan of Arc See more »


Certificate:

Passed | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

25 December 1916 (USA) See more »

Also Known As:

Jeanne d'Arc See more »

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Box Office

Budget:

$302,976 (estimated)

Gross USA:

$605,731
See more on IMDbPro »

Company Credits

Production Co:

Paramount Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

(2003)

Sound Mix:

Silent

Color:

Color (Handschiegel Color)| Black and White

Aspect Ratio:

1.33 : 1
See full technical specs »
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Did You Know?

Trivia

First film to use the Handschiegl Color Process. See more »

Goofs

When Trent discovers the sword, he holds the hilt in his right hand. In the insert close-up the hilt is in his left hand. In the cutback, it has returned to the right. (In fact, the insert shot has been spliced in upside-down.) See more »

Quotes

Jeanne d'Arc: Englishman, there is room in each heart but for one love - mine is for France!
See more »

Connections

Featured in Cecil B. DeMille: American Epic (2004) See more »

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User Reviews

 
Spectacular visual feast.
5 June 1999 | by David-240See all my reviews

All the Demille trademarks are here - huge crowd scenes, wild orgies, torture - but there is also a beauty and imagination here that is lacking in some of his later work. The use of double exposures for Joan's visions, the magnificent use of lighting and colour tinting, reveal a film-maker of greater depth than we might expect.

Opera diva Geraldine Farrar seems a little old and hefty for Joan of Arc, but once you get past that she truly gives an excellent performance. And Wallace Reid as her English lover lends strong support.

The camera is a little static and the "spectacular" battle scene is really just hundreds of people running around waving sticks in the air and falling backwards off walls (and I think very little attention was paid to the safety of the extras and the horses), but this is still a very rewarding and innovative film. And we get the original 1916 score performed on a Wurlitzer.

The historical story is framed by a World War 1 (then currently raging in Europe) scene, which adds poignancy to the piece, but does make the central thesis of the story (that God takes sides in wars) a little harder to take. Ramon Novarro's in this somewhere - can you find him?


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