THE PASSION OF JOAN OF ARC (Dreyer, 1928)
Criterion Collection, Blu-ray, Release Date Mar 20, 2018
Review by Christopher S. Long
(Note: Pictures embedded with this
review are not taken from this new Criterion Blu-ray)
Danish director Carl Theodor Dreyer
once said: “Nothing in the world can compare to the human face. It
is a land one can never tire of exploring.” No director explored a
face more remarkable than actress Renee Falconetti's, and never to
such memorable effect as in “The Passion of Joan of Arc” (1928).
Falconetti was hardly an obvious choice
for the title role. Not only was the 35-year-old actress nearly twice
as old as teenage Joan, she had only played small roles in two films
a decade earlier, and was best known in Paris as the affable star of
comedic stage plays. She likely had little ideal of the ordeal facing
her, no doubt one of many reasons Dreyer cast her.
Both Falconetti and Dreyer faced
considerable pressure. Nearly a half-millennium after burning Joan at
the stake (ostensibly for the crime of wearing men's clothing), the
Church made up for their little boo-boo by officially canonizing her
in 1920. Joan was already one of France's most beloved icons, but
Saint Joan now became a world-wide sensation. The bonanza of
Joan-related projects included the publication of a new book by
Pierre Champion, which included the miraculously-preserved transcript
of her trial.
Dreyer was actually commissioned by a
French studio to adapt a different book on Joan, but he focused
primarily on the transcript, which provides most of the film's text.
Dreyer's hiring generated protests before production ever began –
he was neither French nor Catholic, so how could he tell the story of
our beloved Joan? Casting a French actress may have ameliorated the
outrage a bit, but sticking closely to the historical record also
guaranteed pushback from the Church, not keen on reminding the public
of that time they tortured and murdered of a teenage girl. The one in
1431, I mean. The one in 1431 in Rouen.
Dreyer still took his share of
liberties with history, mostly by compressing a months-long trial
into a single day. This compression amplifies the intensity from the
start, and Dreyer's other stylistic decisions only further up the
ante. Though the film unfolds in one location over one day, the rapid
cutting (approx. 1500 shots in an hour-and-a-half film) and the
relative lack of establishing shots generate a queasy, disorienting
feeling expressive of the overwhelming stress Joan is placed under by
the leering, bullying, mocking Church inquisitors. Consecutive shots
rarely follow the same character, and tight close-ups disrupt a clear
sense of screen geography. Ultimately, the viewer can focus only on
one steady element at the core of this cinematic world, Joan's face.
In one invasive close-up after another,
Falconetti sweats and strains, glares defiantly or blinks back tears,
and looks heavenward to the one true vision she can always see, and
viewers struggle through jarring experience along with her. For
ninety years now, filmgoers have been exploring that face, the face
that defines cinema as much as any single image in the history of the
medium. Falconetti walked away from the cinema after her grueling
ordeal on Dreyer's set, and no other actor has ever exceeded her
performance.
Video:
The film is presented in its original
1.33:1 aspect ratio. From the Criterion booklet: “This new digital
restoration by Gaumont and the Centre national du cinema et de
l'image animee was created in 2K resolution from a duplicate negative
made from an original positive print held by the Danish Film
Institute.” That might sound a bit complicated, but understand that
we're lucky a complete version of “Passion” exists at all and,
indeed, most audiences didn't have access to one until the 1980s. For
more information on the film's labyrinthine journey through the
decades, you can read my brief essay at this link.
This is the first time I've gotten to
see “Passion” in a high-def version and if it's not flawless,
it's certainly a major improvement over anything I've seen before.
The level of detail visible in the many closeups of Falconetti's face
only heighten the intense experience of watching this film.
Criterion has also given viewers the
option to watch the film at 24 frames per second or at 20 frames per
second. As you may know, 24 frames per second is the standard
projection speed for films in the sound era (synch sound needs to be
played at that speed), but rates varied significantly during the
silent era. There is no definitive “correct” fps speed to watch
the film at, though scholar Casper Tybjerg argues convincingly that
the slower 20 fps version also makes the actors look more natural in
motion. The 24 fps version plays at 81 minutes, the 20 fps at 97
minutes.
Audio:
Not only is there no evidence that
Dreyer ever selected an official score to be played with the film, it
is possible he actually preferred to be played silently altogether,
which would have been unusual for the silent era. In any case,
Criterion offers a few audio options.
For the 24 fps version, viewers can
play the film silently (OK, your Mute button would achieve the same
thing) or with two scores: Richard Einhorn's “Voices of Light”
score which many modern viewers are familiar with, and also a recent
(2010) score by Portishead's Adrian Utley and Goldfrapp's Will
Gregory. You can also select an Audio Commentary by Casper Tybjerg,
recorded in 1999.
For the 20 fps version, viewers can
choose the silent version or a 2005 score by Mie Yanashita.
Extras:
Criterion originally released “The
Passion of Joan of Arc” on DVD way back in a whole different
century (1999). This Blu-ray upgrade imports many of the old features
from the DVD and adds a few new ones.
We'll start with the new stuff first.
Now that Criterion has included both 24 fps and 20 fps versions of
the film, scholar Casper Tybjerg provides a discussion (12 min.) of
the merits of each version.
The disc also includes a new interview
with composer Richard Einhorn (11 min.) and a new interview with
composers Adrian Utley and William Gregory (15 min.)
Older imported features include an
audio interview with Helene Falconetti (1995, 9 min.), conducted by
Richard Einhorn. She speaks about her mother, Renee, and her
experiences on Dreyer's set. We also get a Version History (10 min.),
which touches on the film's many different versions over the years, a
Production Design Archive (4 min.) and a Trailer (3 min.)
The thick insert booklet includes a new
essay by scholar Mark Le Fanu, and also a brief statement by Dreyer
and the libretto of the “Voices of Light” score.
Final Thoughts:
“The Passion of Joan of Arc” is the
crowning achievement of one of the greatest directorial careers in
cinema, and Falconetti delivers a performance for the ages.
Criterion's new Blu-ray release provides “Passion” the high-def
treatment it deserves, and the new transfer along with the multiple
scores (and fps rates!) and other extras make this an early favorite
for Blu-ray release of the year.
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