Not to be confused with “The Passion of Joan of Arc,” which really shouldn’t be that difficult due to the very Bresson lack of passion in the performances. Despite this I found said performances, especially Florence Delay as Joan, to be powerful in their own way.
D'après les minutes précieusement conservées du fameux procès de Rouen et les témoignages de la session de réhabilitation survenu vingt-cinq ans plus tard, la vision de Robert Bresson sur le dramatique fait divers judiciaire de la pucelle d'Orléans ..... www.cinefiches.com
Minimal and powerful. Florence Delay leaves me speechless here. Best adapatation of this "roman national" despite it covers only the trial episod. My favorite about the life, death and faith of Joan of Arc. The versions by Dreyer then by Rivette come in second and third position.
A diferencia de la versión de Dreyer, Bresson le otorga a la historia de la mártir un aire documental. La objetividad con que el francés descubre la sensibilidad de Juana, la postra en un estado de fragilidad. Mientras que Dreyer magnimiza e inmola con una serie de primeros planos a la protagonista, Bresson prefiere contemplar a cierta distancia. Es además importante la fuerza dialéctica, algo imposible en el silente
Bresson is excellent, always, but it is impossible to not compare this to Dreyer's PASSION OF JOAN OF ARC, also solely focused on her trial, which is one of the great masterpieces of cinema. This is essentially a re-make of that silent film. Better that the story be told with mostly images, all the talking detracts from the story instead of adding to it. The transcripts of the trial are available for anyone to read.
A workmanlike and stripped down version of Joan of Arc that replaces the faces of passion and pathos in Dreyer’s film with words of precision and poise. In particular, Bresson emphasizes the rhythm of the process (questions and answers; walking to and from the cell) and the mechanisms impacting Joan. Still, Bresson's atomization of sound and image doesn’t illuminate as profoundly as it does in Pickpocket.
The Trial of Joan of Arc (1962), with its few settings, minimal action, and plenty of dialogue, reads more like a play than a film. Still, it retains Bresson’s particular formal style; in many ways, the extreme minimalism makes one more acutely aware of Bresson’s filmic tendencies. Read More: http://aestheticsofthemind.wordpress.com/2012/04/12/the-trial-of-joan-of-arc-proces-de-jeanne-darc/
the only way that bresson could get away with dismissing dreyer's earlier film, would be if he topped it. and good thing he did. it is bare, stripped back and simple, but also a masterpiece. the non actors are all amazing, you could hardly tell the difference. his editing and composition is a master at the top. when it comes to religion in cinema, bresson must be the king.
Robert Bresson responded to what he called "grotesque buffooneries" of Carl Dreyer's THE PASSION OF JOAN OF ARC with this sparse, minimalist take on Joan's trial and execution, and in the process sapped all the energy and emotion out of her sacrifice. Dreyer's film is an overwhelming cinematic experience, Bresson's feels almost rote and truncated. Minimalism is a legitimate approach, but here it feels arrogant.
Sometimes it can be quite difficult to see the greatness of Bresson. His version of Jeanne D'Arc is simple, probably transcendent. But is that necessarily a good thing? This film is quite bautiful, but also slight. Too simple, maybe? Absolutely nothing compared to Dreyer. C+