In 1431, Jeanne d'Arc is placed on trial on charges of heresy. The ecclesiastical jurists attempt to force Jeanne to recant her claims of holy visions.
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Title: The Passion of Joan of Arc (1928)
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Cast
| Complete credited cast: | |||
| Maria Falconetti | ... | Jeanne d'Arc (as Melle Falconetti) | |
 |
Eugene Silvain | ... | Évêque Pierre Cauchon (Bishop Pierre Cauchon) (as Eugène Silvain) |
|
|
André Berley | ... | Jean d'Estivet |
| Maurice Schutz | ... | Nicolas Loyseleur | |
| Antonin Artaud | ... | Jean Massieu | |
| Michel Simon | ... | Jean Lemaître | |
|
|
Jean d'Yd | ... | Guillaume Evrard |
|
|
Louis Ravet | ... | Jean Beaupère (as Ravet) |
|
|
Armand Lurville | ... | Juge (Judge) (as André Lurville) |
|
|
Jacques Arnna | ... | Juge (Judge) |
|
|
Alexandre Mihalesco | ... | Juge (Judge) |
|
|
Léon Larive | ... | Juge (Judge) |
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Plot Summary
|
Plot Synopsis
Storyline
The sufferings of a martyr, Jeanne D'Arc (1412-1431). Jeanne appears in court where Cauchon questions her and d'Estivet spits on her. She predicts her rescue, is taken to her cell, and judges forge evidence against her. In her cell, priests interrogate her and judges deny her the Mass. Threatened first in a torture chamber and then offered communion if she will recant, she refuses. At a cemetery, in front of a crowd, a priest and supporters urge her to recant; she does, and Cauchon announces her sentence. In her cell, she explains her change of mind and receives communion. In the courtyard at Rouen castle, she burns at the stake; the soldiers turn on the protesting crowd. Written by <jhailey@hotmail.com>
Taglines:
JOAN of ARC PICTURES Inc. presents See more »Parents Guide:
View content advisory »
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Details
Country:
FranceLanguage:
FrenchRelease Date:
25 October 1928 (France) See more »Also Known As:
The Passion of Joan of Arc See more »Filming Locations:
Boulogne-Billancourt, Hauts-de-Seine, FranceEdit
Box Office
Opening Weekend USA:
$6,408, 26 November 2017, Limited ReleaseGross USA:
$21,877, 7 December 2017Company Credits
Show more on
IMDbPro »
Technical Specs
Runtime:
| (1952 re-release) | (restored DVD) | (DVD) | (Blu-ray)Sound Mix:
SilentColor:
Black and WhiteAspect Ratio:
1.33 : 1
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Jeanne d'Arc: I don't know if God loves or hates the English; but I do know that the English will all be chased from France - except those that die here!
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Written by Richard Einhorn
The score used in the 1995 version
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Did You Know?
Trivia
The film took a year and a half to complete. See more »Goofs
Near the end of the film when two rocks are thrown through what is supposed to be a leaded glass window it is clear from the way it breaks that it is just a regular pane of glass with lines drawn on it to simulate leaded glass. See more »Quotes
Évêque Pierre Cauchon (Bishop Pierre Cauchon): So you think God hates the English?Jeanne d'Arc: I don't know if God loves or hates the English; but I do know that the English will all be chased from France - except those that die here!
See more »
Soundtracks
Voices of LightWritten by Richard Einhorn
The score used in the 1995 version
See more »
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This film almost leads one to believe that sound betrays the emotion the eyes capture. Just as the blind develop hearing far better than the average, the deaf develop a keen sense of sight. I am convinced that a lack of dialogue forces us to read the language of the face and body, a verbage unmatched in beauty and nuance. Though the accompanying musical piece (be careful not to identify it as a score), so deliciously inspired by the film, enhances the visual playground; it is the actors' faces that comprise this tour de force. Ms. Falconetti shifts from worry and doubt to unabashed conviction in a single shot, giving the viewer the luck of seeing one's thoughts in progress. She needs no response to the interrogation, it's all in her face. Renee is not superficially beautiful and the lack of make-up only reinforces how bare Joan is, but it is the uncanny ability of an incomparable stage actor to be a window into the soul that makes her so stunning, for the soul we see is one we only wish to attain for ourselves. The Church sees what we see, and they respond just as clearly to her unspoken protest with vehement pomp. The cinematography is so astounding for its time no comment could ever do it justice. Though many comments can be made, and are, surrounding the inspiration and detail for the set, it is at its core an incredible gift from Dreyer to the actors meant to inspire. It plays little part in the film, but to pull an inconceivable last drop of reality from the actors. A testament I can imagine will never be matched to the incredible power of silence.