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
Giovanna is taken to the Inquisition court. . After the accusation of blasphemy continues to pray in ecstasy . A friar thinks that Giovanna is a saint, but is taken away by the soldiers. Giovanna sees a cross in the shadow and feels comforted. She is not considered a daughter of God but a daughter of the devil and is sentenced to torture. Giovanna D 'Arco says that even if she dies she will not deny anything. The eyes are twisted by terror in front of the torture wheel and faint. Giovanna is taken to a bed where they are bleeding. Giovanna feels that she is about to die and asks to be buried in a consecrated area. Giovanna burns at the stake while devoted ladies cry.Written by
Selected by the Vatican in the "religion" category of its list of 45 "great films." 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 »
In 1981 a print was discovered in a closet of a mental institution in Oslo, Norway. The film was sent to the Norwegian Film Institute where it was found to be a copy of the original 1928 version with Danish intertitles. Uncensored prints were shipped to Copenhagen, and were not censored there, making the discovered print the defining version. See more »
When viewing it we look at it as looking in a mirror.
What can one say about this work of art that has not been said many times before by those far better qualified to explain both it's importance and place as cinema and art? I shall not comment on the greatness of the film's technical achievements; the stunning cinematography, the production design, the brilliance of the screenplay based on actual transcripts from the trial, or the perfection of Mr. Dreyer's direction. The performance of Falconetti as Jeanne d' Arc has a profundity and depth far beyond my ability to illuminate. I suppose the best I can hope to do is to share my feelings, however inadequately expressed, of the effect it had on me. To say that it may be the greatest film ever made is to sound both obvious and trite. That a work of such beauty and simplicity, made seventy-six years ago can still have the power to move audiences in an era of multi-million dollar, hi-tech, bombastic over-wrought cinematic drivel is in itself a testament to the vision and genius of Carl Theodor Dreyer, Maria Falconetti and their collaborators. It is nourishment for those that hunger for something more in cinema, a feast for the soul. It is a reminder that film can indeed be art, and this film like all great works of art, lifts and transports us from the routine of our work-a-day lives to enable us, if only for a moment to experience the sublime. When viewing it we look at it as looking in a mirror. That is to say we look into ourselves. We question ourselves as to our own beliefs, or the lack thereof and the strength of spirit that enables an individual to endure the unendurable. Viewing it is a profound experience the nature of which for myself is transcendent rather than religious, because I am not in the least a religious person. Transcendent because it evokes emotions and thoughts that I cannot wholly account for, or adequately explain.
"La Passion of Jeanne d'Arc" is stark, radiant, exalted, simple, (but never simplistic), and ultimately sublime. The rest is silence.
137 of 159 people found this review helpful.
Was this review helpful to you?
| Report this