David O'ConnellTrial of Joan of Arc
November 20th 2008 02:44
This starkly-filmed recreation of the famously accused heretic’s last days in Rouen 1431, defending the validity of the voices of angels and saints that visit her, is another fine example of Robert Bresson’s minimalist, detached style.
As in the earlier Pickpocket (1959), one of his masterpieces, he uses no music (other than in the first and last scenes) and more crucially, a cast of non-actors which makes for slightly wooden but dour, sincere performances. Florence Delay in the title role of Joan is excellent, burdened with the majority of the film’s dialogue, her earnestly devout portrayal giving it a feeling of authenticity.
Despite being only 60 minutes long, Bresson’s structure allows for fluidity with short scenes of Joan defending the charges against her separated by equally economical scenes in her cell, her detractors and advocates from the Church both trying to sway her one way or the other, for the sake of her soul or to prolong her life.
Was Joan really a deluded young woman whose voices can be attributed to some form of mental illness?
Or were they genuine visitations from on high, the saints and angels used by God to alert her true purpose to an unforgiving and unbelieving world?
Regardless, Bresson doesn’t delve too deeply into it – his prime motivation is to relay the facts, and a vivid evocation of the vitality of one woman who dared to be a leader of men in battle - and the tenacity of her faith against all odds, even the threat posed by imminent death.
The Trial of Joan of Arc is slightly inferior to Pickpocket, which is the only other Bresson film I’ve seen to date – it had a more obvious and audacious stylistic skill – but it’s just as fascinating in its way, being based on actual trial transcripts.
On the surface it appears to be an underwhelming type of naturalism but the lack of artifice and directness of Bresson’s approach is a strength in both films, and for most of his career he used non-professional actors, so it was a continuing experiment.
The final scene of Trial of Joan of Arc is a haunting one, dwelling on the place where Joan is last seen, chained and tied to the stake, only to evaporate with the wafting black smoke as if she never existed at all, the rising birds a convenient symbol of her eternal flight.
Currently screening on World Movies, it's well worth a look, if only to see a much lauded, unconventional French director at work.
As in the earlier Pickpocket (1959), one of his masterpieces, he uses no music (other than in the first and last scenes) and more crucially, a cast of non-actors which makes for slightly wooden but dour, sincere performances. Florence Delay in the title role of Joan is excellent, burdened with the majority of the film’s dialogue, her earnestly devout portrayal giving it a feeling of authenticity.
Despite being only 60 minutes long, Bresson’s structure allows for fluidity with short scenes of Joan defending the charges against her separated by equally economical scenes in her cell, her detractors and advocates from the Church both trying to sway her one way or the other, for the sake of her soul or to prolong her life.
Was Joan really a deluded young woman whose voices can be attributed to some form of mental illness?
Or were they genuine visitations from on high, the saints and angels used by God to alert her true purpose to an unforgiving and unbelieving world?
Regardless, Bresson doesn’t delve too deeply into it – his prime motivation is to relay the facts, and a vivid evocation of the vitality of one woman who dared to be a leader of men in battle - and the tenacity of her faith against all odds, even the threat posed by imminent death.
The Trial of Joan of Arc is slightly inferior to Pickpocket, which is the only other Bresson film I’ve seen to date – it had a more obvious and audacious stylistic skill – but it’s just as fascinating in its way, being based on actual trial transcripts.
On the surface it appears to be an underwhelming type of naturalism but the lack of artifice and directness of Bresson’s approach is a strength in both films, and for most of his career he used non-professional actors, so it was a continuing experiment.
The final scene of Trial of Joan of Arc is a haunting one, dwelling on the place where Joan is last seen, chained and tied to the stake, only to evaporate with the wafting black smoke as if she never existed at all, the rising birds a convenient symbol of her eternal flight.
Currently screening on World Movies, it's well worth a look, if only to see a much lauded, unconventional French director at work.
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Comment by Aimzster
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Comment by David O'Connell
Screen Fanatic
A pity some of these ordinary modern American films weren't 60 minutes long, they might actually be watcheable!!
Comment by Cibbuano
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Comment by Lilla
From The Home Front
Enviro Warrior
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Esoteric Bookshop
Ooh now that reminded me of another haunting scene, from Blade Runner ...
A most alluring recommendation, thanks for the heads up.
Lilla ...
Comment by David O'Connell
Screen Fanatic
Cib, I'll be trying to track down more Bresson, I'm curious to see his other work now.