I'm sure watching with a live medieval choir slightly boosted the experience, but even without this it would've been out-of-this-earth experience. I was slightly skeptical - everyone knows it's a classic, but sometimes the language of these early classics cannot communicate the message efficiently to a XXI century viewer. Clearly not the case in this instance.
A real testimony of faith, a film that transports you to see the world through the eyes of Joan of Arc. The emotions this film made me feel are untouchable, from all the angles possible this is a masterpiece. A fine gem from the silent era. The editing of the sequence of her execution is easily one of my favorite moments in cinema's history.
A masterpiece of a film long lost but found in the cellar of a Norwegian insane asylum. An effective silent film with extreme use of close-ups showing the feelings and faces of the cast in a way modern film would do 50 years later. Among the best acting I have ever seen in a silent movie. Sadly no music track exist but I used Vangelis' albums "Bounty" and "Odes" in the background which did wonders to the experience.
A religious experience, and not just in a good way. Personally I was always bored in church—and there's no more point in complaining that there are too many close-ups of Falconetti than that a church service has too many hymns. You either believe or don't, and I believe in the power of close ups, of angelic faces contrasted with bestial ones, and of the kineticism of a final montage. A, yes, passionate masterpiece.
Monsterpiece. Man these Christians love their suffering. It's always nice to see a bunch of old men trying to decide the fate of a teenage girl with mental issues. Suffering has never been more beautiful. Most of the film is shot in close-up so you can really pay attention to the suffering. They even take her to a torture chamber.
4-5. It really is striking that for Dreyer's reputation as something of a minimalist, (he LOVED white) he directs the film to be something so intimate, dynamic, and visually busy. There are so many compellingly crosscut sequences (the haircut with the circus), and that's not even getting into the way Joan's actress captures all the rapture of salvation and the terror of death. It's a truly astonishing film.
A cinematic idol, a central figure that everything surrounds, a single face in close-up. I'm always afraid to watch this film again and again, and yet every time I find a new way to adore it. There are many judges, guards, and peasants that scroll in front of us, but only one Jeanne. Whenever the camera is moved, our hearts are moved as well.
There's something fundamentally appealing, emotionally powerful when photographing a human face, expressing or at least seeing a psychological or poetic side to it, especially in the eyes. Carl Th. Dreyer's silent masterpiece acutes to all of these aspects to what the intensity of a close-up can arouse. The film is less interested in the history of Joan, than it is with the intense fear and emotion we feel for her.
Certainement un des plus beaux films de l'histoire du cinéma. Longtemps, le spectateur se souviendra du visage bouleversé, bouleversant de Renée Falconetti, de ces gros plans serrés alternant avec la face de ses juges, un vitrail et l'intense regard douloureux de Jeanne. D'une beauté insoutenable... www.cinefiches.com
Falconetti's facial movements are incredible, cuts and perspective are somewhat dizzying, at times had no idea in what position Joan was resting (seated, standing etc.). the fire scene an absolute miracle, specifically getting a clear view of the cross in a moment when the smoke abates then is quickly obscured from vision again.