Follows the lives of the Borgen family, as they deal with inner conflict, as well as religious conflict with one and other, and the rest of the town. The various events that unfold throughout the film tests all of their faith and beliefs.
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
The sufferings of a martyr, Jeanne D'Arc (1412-1431). Jeanne appears in court where Cauchon questions her and d'Estivet spits on her. She predicts her rescue, is taken to her cell, and judges forge evidence against her. In her cell, priests interrogate her and judges deny her the Mass. Threatened first in a torture chamber and then offered communion if she will recant, she refuses. At a cemetery, in front of a crowd, a priest and supporters urge her to recant; she does, and Cauchon announces her sentence. In her cell, she explains her change of mind and receives communion. In the courtyard at Rouen castle, she burns at the stake; the soldiers turn on the protesting crowd. Written by
Jean's hair is cut with a shiny pair of scissors which appear to be from the 20th century. Pivoted scissors (the kind with finger holes in use today) were not commonly available until the 18th century. Spring-based scissors which you squeeze from the ends of the scissors (kind of like tongs) were the ones used in the middle ages and were usually made out of iron, not steel. See more »
You claim that I am sent by the Devil. It's not true. To make me suffer, the Devil has sent you... and you... and you... and you.
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Dreyer's masterpiece one of cinema's greatest artistic triumphs
One of the last great silent films made during the advent of sound, Carl-Theodor Dreyer's The Passion of Joan of Arc is a haunting, riveting portrait of the historical martyr based on documentation from the original trial. Focusing primarily on the series of courtroom examinations that doomed the young warrior, the film gloriously employs vivid close-ups to accentuate the ordinariness (while at the same time exaggerating the most grotesque qualities) of Joan's inquisitors. Maria Falconetti is unforgettable as Joan, perfectly distilling the pain, terror, and saintliness required by what is probably one of the most demanding roles an actor could attempt. The consequence of Joan's conviction -- her burning at the stake -- allows Dreyer to hammer home his exquisite visual motif balancing erotic corporeality with transcendent spirituality.
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