| Gaumont | Release Date: March 28, 1929 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
20
Mixed:
0
Negative:
1
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Critic Reviews
Dreyer’s radical approach to constructing space and the slow intensity of his mobile style make this “difficult” in the sense that, like all the greatest films, it reinvents the world from the ground up. It’s also painful in a way that all Dreyer’s tragedies are, but it will continue to live long after most commercial movies have vanished from memory.
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The chief reason for its legendary reputation is the brilliant match between its timeless historical subject - the trial that required Joan to defend her faith before skeptical representatives of church and state - and Dreyer's decision to film it primarily in relentless close-ups, using the sharply etched faces of his performers to suggest the invisible spiritual struggles going on beneath the drama's human dimensions.
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One of the cinema's imperishable visions of faith against injustice. [20 Feb 1997, p.9E]
One of the greatest of all movies...Falconetti's Joan may be the finest performance ever recorded on film.
FRANCE can well be proud of that great picture, The Passion of Jeanne d'Arc, for while Carl Dreyer, a Dane, is responsible for the conspicuously fine and imaginative use of the camera, it is the gifted performance of Maria Falconetti as the Maid of Orleans that rises above everything in this artistic achievement.
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Here is a deadly tiresome picture that merely makes an attempt to narrate without sound or dialog an allegedly written recorded trial in the 15th or 16th century of Joan of Arc for witchery, leading to her condemnation and burning at the stake. [10 Apr 1929, p.25]
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