IMDb RATING
8.1/10
63K
YOUR RATING
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.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.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.
- Awards
- 4 wins & 1 nomination
Maria Falconetti
- Jeanne d'Arc
- (as Mlle Renée Falconetti)
Eugene Silvain
- Évêque Pierre Cauchon (Bishop Pierre Cauchon)
- (as Eugène Silvain)
Louis Ravet
- Jean Beaupère
- (as Ravet)
Armand Lurville
- Juge (Judge)
- (as André Lurville)
Jean Aymé
- Juge (Judge)
- (uncredited)
Gilbert Dacheux
- Juge (Judge)
- (uncredited)
Gilbert Dalleu
- Jean Lemaître
- (uncredited)
Paul Delauzac
- Martin Ladvenu
- (uncredited)
Dimitri Dimitriev
- Juge (Judge)
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAfter completing the original cut of the film, director Carl Theodor Dreyer learned that the entire master print had been destroyed accidentally. With no ability to reshoot, Dreyer re-edited the entire film from footage he had originally rejected.
- GoofsIn the 15th century, a priest can be seen wearing a Jesuit robe. The Jesuit order was founded in the 16th century.
- Quotes
Jeanne d'Arc: Dear God, I accept my death gladly but do not let me suffer too long. Will I be with You tonight in Paradise?
- Alternate versionsIn the 1930s, a one-hour synchronized sound version was reissued under the name "The Immortal Saint" using David Ross as a narrator to replace intertitles.
- ConnectionsEdited into From Camille to Joan of Arc (1961)
Featured review
Carl Th. Dreyer's The Passion of Joan of Arc was made, perhaps, years ahead of its time- my guess would be that if it wasn't burned after its initial release, it would've had as stunning an impact on the film world years down the line as Citizen Kane did. Though the use of close-ups and distorted angles were not completely new in this film, it felt like Dreyer was creating a new kind of cinema, one where reality, however cold and pitiful, was displayed with complete sincerity. There is also the editing (by Dreyer and Marguerite Beague), which has the timing that many directors/editors of the modern day could only hope to achieve (it has the influence of Eisenstein, only in a totally different historical context), and those moves with the camera by Rudolph Mate (who would go on to photograph Foreign Correspondent and Lady from Shanghai) that are precious- to call his work on the film extraordinary is an understatement.
And it was crucial for Dreyer to use the close-ups and tilted angles and shots where you only see the eyes in the bottom of the frame, and so forth- he's developing the perfect atmosphere in regards to a trial set in 15th century France. It's all those eyes, all those faces, holding all those stolid mindsets that send Joan to her fate. Pretty soon a viewer feels these presences from all these people, so strong and uncompromising, and Dreyer does a miraculous thing- he makes it so that we forget about the time and place, and all of our attention is thrown onto those eyes of Joan, loaded to brim with a sorrow for where she is, but an un-questionable faith in what she feels about God. I wondered at one point whether Dreyer was making as much a point on people's faiths and prejudices in the almighty, or just one on basic humanity.
There have been many before me who have praised Falconetti's performance to the heavens (Kael called it the finest performance in film), but in a way it almost can't be praised enough. What she achieves here is what Ebert must've felt watching Theron in the recent 'Monster'. I didn't even see her in a performance as Joan of Arc- I saw her as being the embodiment of it, as if Falconetti (with Dreyer's guidance) took Joan out of the pages of the trial transcript and her entire soul took over. There is something in an actor that has to be so compelling, so startling, and indeed so recognizable, that a person can feel empathy and/or sympathy for the person the actor's playing. All a viewer has to do is stare into Falconetti's eyes in any shot, close-up or not, and that viewer may get stirred to boiled-down emotion.
For me, it was almost TOO over-whelming an emotional experience- when Joan is about to get tortured, for example, I found myself completely lost from where I was watching the film, everything in my soul and being was with Joan in that chamber, and for a minute I broke out in tears. That's the kind of effect that Dreyer's craft and all the acting work (including Eugene Sylvain as the Bishop Cauchon, and of course Artaud as Jean) can have on a viewer. I'm not saying it has to, yet The Passion of Joan of Arc could- and should- be considered a milestone in cinematic tragedy, where the images that come streaming forth never leave a viewer, and the detail for time and place becomes just that, a detail for the main stage. Love Joan or hate her, this is for keeps.
And it was crucial for Dreyer to use the close-ups and tilted angles and shots where you only see the eyes in the bottom of the frame, and so forth- he's developing the perfect atmosphere in regards to a trial set in 15th century France. It's all those eyes, all those faces, holding all those stolid mindsets that send Joan to her fate. Pretty soon a viewer feels these presences from all these people, so strong and uncompromising, and Dreyer does a miraculous thing- he makes it so that we forget about the time and place, and all of our attention is thrown onto those eyes of Joan, loaded to brim with a sorrow for where she is, but an un-questionable faith in what she feels about God. I wondered at one point whether Dreyer was making as much a point on people's faiths and prejudices in the almighty, or just one on basic humanity.
There have been many before me who have praised Falconetti's performance to the heavens (Kael called it the finest performance in film), but in a way it almost can't be praised enough. What she achieves here is what Ebert must've felt watching Theron in the recent 'Monster'. I didn't even see her in a performance as Joan of Arc- I saw her as being the embodiment of it, as if Falconetti (with Dreyer's guidance) took Joan out of the pages of the trial transcript and her entire soul took over. There is something in an actor that has to be so compelling, so startling, and indeed so recognizable, that a person can feel empathy and/or sympathy for the person the actor's playing. All a viewer has to do is stare into Falconetti's eyes in any shot, close-up or not, and that viewer may get stirred to boiled-down emotion.
For me, it was almost TOO over-whelming an emotional experience- when Joan is about to get tortured, for example, I found myself completely lost from where I was watching the film, everything in my soul and being was with Joan in that chamber, and for a minute I broke out in tears. That's the kind of effect that Dreyer's craft and all the acting work (including Eugene Sylvain as the Bishop Cauchon, and of course Artaud as Jean) can have on a viewer. I'm not saying it has to, yet The Passion of Joan of Arc could- and should- be considered a milestone in cinematic tragedy, where the images that come streaming forth never leave a viewer, and the detail for time and place becomes just that, a detail for the main stage. Love Joan or hate her, this is for keeps.
- Quinoa1984
- Feb 6, 2004
- Permalink
- How long is The Passion of Joan of Arc?Powered by Alexa
Details
- Release date
- Country of origin
- Languages
- Also known as
- The Immortal Saint
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Gross US & Canada
- $21,877
- Opening weekend US & Canada
- $6,408
- Nov 26, 2017
- Gross worldwide
- $22,731
- Runtime1 hour 54 minutes
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
Contribute to this page
Suggest an edit or add missing content
Top Gap
By what name was The Passion of Joan of Arc (1928) officially released in India in English?
Answer