In the midst of the Russian Revolution of 1905, the crew of the battleship Potemkin mutiny against the brutal, tyrannical regime of the vessel's officers. The resulting street demonstration in Odessa brings on a police massacre.
Sergei M. Eisenstein
In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
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
The film was considered lost for many years. In 1978 an almost complete print was found in the estate of an Italian priest who had organized screenings in mental hospitals. The same is true of The Burning Soil (1922). See more »
Jean's hair is cut with a shiny pair of scissors which appear to be from the 20th century. Pivoted scissors (the kind with finger holes in use today) were not commonly available until the 18th century. Spring-based scissors which you squeeze from the ends of the scissors (kind of like tongs) were the ones used in the middle ages and were usually made out of iron, not steel. See more »
Dear God, I accept my death gladly but do not let me suffer too long. Will I be with You tonight in Paradise?
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Around 1950 a French film historian, Lo Duca, discovered the second negative in the vaults of Gaumont Studios, in pristine condition. Sadly, he created his own version, changing the original and including a score that was a montage of Albinoni, Vivaldi, and other Baroque composers. Intertitles were done away with and replaced with subtitles, and the film opens in a voice-over. Dreyer was horrified and disowned Duca's version. See more »
I saw this a few months ago on the big screen, just after Nosferatu, another silent classic. Both showings were supported by a live organ play, which has been composed directly for the movie, and which suited perfectly. I had seen Nosferatu before, but i didn´t know anything about `Jeanne`, and so i was in no way prepared for this overwhelming, soul-rapturing experience.
My eyes were immediately glued to the screen. Unfortunately i had missed the first minutes, so it started for me with the first (?) court scene. The camera wandered through the faces of the court members, circled and focussed on Jeanne´s face. So beautiful, naked, strong and defenseless! I could rave on the technical perfection of this film, it´s clever editing, innovative and gorgeous cinematography, proper historical settings and pure storytelling. Carl Theodor Dreyer created a masterpiece. But the most outstanding feature of this silent are the performances; Maria Falconetti delivers simply the best performance of all times, and i can´t remember of any ´corny` overacting, which distracts most silent movies from the modern viewer, even the accepted classics. `La passion de Jeanne d´Arc´ is purest cinematic art, timeless in every sense.
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