Description

With its stunning camerawork and striking compositions, Carl Th. Dreyer's The Passion of Joan of Arc convinced the world that movies could be art. Renée Falconetti gives one of the greatest performances ever recorded on film, as the young maiden who died for God and France. Long thought to have been lost to fire, the original version was miraculously found in perfect condition in 1981-in a Norwegian mental institution. Criterion is proud to present this milestone of silent cinema in a new special edition featuring composer Richard Einhorn's Voices of Light, an original opera/oratorio inspired by the film. ... Read more

Reviews (99)

The best film I have ever seen
MY CURRENT RATINGS:
10/10 Movie: The Passion of Joan of Arc (1928)

The Passion of Joan of Arc (Dreyer 1928)

Once thought lost to the world, the film was pieced together in the 1980s from a Danish copy found miraculously in a mental hospital closet.

The introduction on the Criterion DVD tells us this. By film's end, you realize just what a blessing it is that this most beautifully crafted work of art, history and faith was not lost to us all.

I began my first viewing without the later-created score. Something told me to go ahead and add the inspired sounds, as they were approved and revered enough to accompany this most definitive copy of the piece.

From the second she comes on screen, Jeanne (Maria Falconetti) appears Divinely informed, set apart from her persecutors. The brilliance of Falconetti's performance cannot be overstated. Her eyes share a myriad of emotions in each frame, more than a thousand encyclopedias could convey.

I often say there are too many words in films today. I look to classics to find my respite. Silent films are the best vessels for such a cinefile.

The story of St. Joan of Arc is familiar to most today. We've seen everything from picture books to MTV videos imitating the final, passionate days of Her existence. She is somewhat a cult icon for young feminists, though I doubt this was Her purpose.

Whether you take Jeanne's passion as a believer, or a sympathetic, or a skeptic impressed by her self confidence in what she knew as truth, it is impossible to not love a woman so steadfast. One cannot imagine the horror behind those now famous eyes conveying Jeanne's final days here.

I admit being moved to tears on many occasions during this first viewing.

The framing was so emotional, showing angles that impart such immediate recognition of fear, anguish, faith that one can be expected to cry merely for the level of art.

The editing was also vastly fraught with feeling. During one of the film's most frenetic sequences, the pace quickens with a fervor of impending fright, and we are one with our protagonist.

One might think with all these incredible kudos, the film would fail somewhere. It cannot contain such a complete package of filmic greatness at such an early stage of the medium?

It can and does. Visual symbolism is resplendent. From a cross hidden as the window bars to a flock of birds lighting on the steeple, to a babe suckling its mother's milk as stark contrast to the events surrounding it.

Truly the most remarkable, crafted, and moving piece of cinema I have ever seen, heard or experienced.

10/10 and beyond. Every film should rise to the level of The Passion of Joan of Arc.

Restored herstorical trial
First off read the editors review, that sums it up. I just would like to add that the film blows you away with its musical score as performed by Annonymous Four. The cinematography and all aspects of film making are of the highest caliber and the music just further mesmerizes and adds to a fantastic performance by Renee Falconetti as Joan. The judges on behalf of the church are very evil and sinister looking, the camera work accentuates this masterfully. One judge has his typically monk fashion do looking demonic with hair ends from the side pointing straight up like horns. It is brilliant characterizations like this and the use of close ups that leads the viewer into what must have been an insane trial. Not to be missed by movie buffs, or anyone with an appreciation of fine film making before color and sound. Actually the musical score does more probably than a dialogue could have, the subtitles are fine and the restoration is like watching a "new" movie. Don't miss this brilliant vision by Carl Dreyer, a true masterpiece.

A true classic of cinema
This review is for the Criterion Collection DVD edition of the film

This movie is one of the most well known classics of Europe. The 2nd original print, long thought to be lost to fire, was miraculously found in the closet of a mental hospital in Norway in 1981. The 1st original was burned though.

The recent film, "Passion of the Christ" was not the only "passion" film to generate controversy. This film was thought to be anti-England due to its protrayal of their treatment to Joan of Arc. The French were also upset that a non-French and non-Catholic man directed the film. The film's dialoge (by intertitles as it is a silent film) is based on actual transcripts of Joan's trial which have managed to survive also. The film is said to be very moving for some people just like Gibson's "Passion of the Christ." Not being Catholic, I am not sure of what many of the elements of either film may refer to.

The DVD has numerous special features as always.

Audio commentary by Dryer scholar Casper Tybjerg of Copenhagen University (he has a thick Danish accent that is very nice)
Optional soundtrack for Richard Einhorn's "Voices of Light" (a musical piece inspired by the film)alsong with an essay about the music and a libretto booklet.
Production design archive
History of the many different cuts and alternat versions of the film
Audio-only interview with the star's daughter, Hélène Falconetti.

An extraordinary accident -
About 5-10 years ago, I asked my mother (then 70 yrs old or so) what the best movie she'd ever seen was. She said Carl Dryer's Joan of Arc, which then had not yet been re-released. When I told a film lover this, he said "oh, that was EASY." Intrigued I went to see the movie at Avery Fisher Hall at the new release with Einhorn's score. Well, I was speechless. It was nothing I expected it to be. And, as it happens, not what Carl Dryer expected either! He had to create it from rejected footage when the original version was destroyed in a fire. Proof of his genius, now one can't even imagine another version. With all of these close-ups that were originally rejected, could we still today be so amazed by it? Even up close, Maria Falconetti's performance is the most humble I have ever seen in my life. The script is just a court proceeding, which I believe was from the original court transcripts. Seeing the film, witnessing the ridiculous trial, and experiencing Maria Falconetti's soul, I went away feeling sad for the human race.

what gibson's passion should have been
one reads all too frequently a tagline like ' the greatest film of all time'.
like many, i read of this film for years before ever seeing it.
todd browning's freaks was also a film one read of for years before it became readily available.
the difference in finally encountering the two films is remarkable.
while brownings freaks is an essential film to see, it doesn't quite live up to it's expectations, mainly because of the badly stilted dialogue.
it undoubtedly would have been better as a silent film.
however, dreyer's passion leaves you no such dissapointment.
it is an unbelieveable work of art and ranks with chaplin's city lights as the most remarkable achievement in silent film.
and it is possibly the greatest film ever made and,for once, this is not an outrageous or exaggerated statement.
virtually, everything about it works. the only weakness lies in the titles which can be obtrusive. but,then, all films are flawed, of course.
it is fairly well known that dreyer wanted desparately to film the subject of christ and the passion.
chaplin too had wanted to play christ and said he was the perfect actor to do so as he was jewish by birth, an aetheist by choice, and a pantomimist.
he was probabaly right.
objectivity (like in the example of passolini's gospel according to st matthew)can actually lead to a stronger, more honest work of art.
mel gibson's recent proselytizing effort is the quintessential example of how having a personal agenda can actually lead to a monstrousely horrifying expression.
gibson's passion leaves the senses reeling from the onslaught of sadistic images.
not so here.
while the tragedy which befell joan is of unparamount dimensions,
our emotions and heart yearn during the course of the film without experiencing the type of nauseousness we feel from encontering gibson's unrelenting assault of macho torture.
here we experience the lessons of the sermon on the mount, the our father, the hail mary and the passion. and this is the type of balance we desperately need in a film of this nature.
oddly enough, a few years ago a friend of mine had never read the gopels and i encoraged her to read the gospel of john.
her honest reaction (a reaction without preconcieved notions) was that christ possessed an honest, effiminate, nurturing character.
how ironic then that dreyer could give us a female martyr and move us in a way that the macho gibson could not. ... Read more

Amazon.com

In this chilling, atmospheric German film from 1932, director Carl Theodor Dreyer favors style over story, offering a minimal plot that draws only partially from established vampire folklore. Instead, Dreyer emphasizes an utterly dreamlike visual approach, using trick photography (double exposures, etc.) and a fog-like effect created by allowing additional light to leak onto the exposed film. The result is an unsettling film that seems to spring literally from the subconscious, freely adapted from the Victorian short story Carmilla by noted horror author Joseph Sheridan Le Fanu, about a young man who discovers the presence of a female vampire in a mysterious European castle. There's more to the story, of course, but it's the ghostly, otherworldly tone of the film that lingers powerfully in the memory. Dreyer maintains this eerie mood by suggesting horror and impending doom as opposed to any overt displays of terrifying imagery. Watching Vampyr is like being placed under a hypnotic trance, where the rules of everyday reality no longer apply. As a splendid bonus, the DVD includes The Mascot, a delightful 26-minute animated film from 1934. Created by pioneering animator Wladyslaw Starewicz, this clever film--in which a menagerie of toys and dolls springs to life--serves as an impressive precursor to the popular Wallace & Gromit films of the 1990s. --Jeff Shannon ... Read more

Reviews (30)

One of the great horror films
Directed in France by the legendary Danish director Carl Dreyer,Vampyr is not only one of the best horror films but also probably one of the greatest films ever made. Unlike the American horror pictures like Frankenstein that were being made at the same time, Vampyr has relatively little action but a sustained atmosphere of strangeness like that of few other movies. The action takes place during one night and the entire film has a slow, trance-like quality. The picture quality of the DVD is vastly superior to that of the older videotapes--the film was photographed by the great Rudolph Mate--but the sound recording is shaky at the best, and the dialogue is hard to follow even for someone who understands German. The music comes across more effectively but is boomy in some passages--it's a good idea to reduce the bass before viewing. The DVD like an earlier video has quite large subtitles in Gothic type--designed I think to eliminate Danish subtitles--which unfortunately mask a third or so of the picture in some shots.

Poor transfer to DVD
This is a great film, one of the most spectral and haunting of all vampire movies. Admittedly, the available prints have been spotty at best. There was a restoration back in the late '60 that took the best footage from a German print and an English language dub print. Truly that effort did justice to Rudolph Matte's imaginative photography. Sadly, this is not that print. By far it's the worst transfer to DVD I've seen yet. The subtitles take up the lower half of the image, and they are gothic German letters on a black masked background! Who's guilty for that? It's become clear that old classics like this are getting rushed into release with little regard for quality, so buyer beware. With a hack job like this out in the market it'll be a long time (if ever) till we see a beautifully restored version of Carl Dreyer's masterpiece on DVD. If you're looking for quality check out Criterion's release of Dreyer's "Passion of Joan of Arc". It's a model of what can be accomplished on the restoration of an old film. With Richard Einhorn's score "The Passion of Joan of Arc" is as fresh and alive as any movie currently in theaters.

dreampyr
What's truly unnerving about Vampyr is it's not so much about monsters
as psychic monstrosity. Most movies objectify our fears and horrors,
materializing them into goblins, slashers, vampires, and whatnot. In
Vampyr, we are to forced to confront our state of mind, our fears as
they surface and take shape, then dissolve, then return to haunt us
yet again.

In most vampire movies, dracula is a frightening creature, a prince of
the dead. He's a badass but can be scared off with garlic or killed
with a wooden stake. In Vampyr the horror is really the fascinating
but dreaded border between life and death, even between waking life
and sleep. This horror is both elusive and omnipresent(therefore more
unsettling) because it shows how imperceptively we slip from life into
death, from wakened state to helpless slumber. Vampyr charts out that
vast but intangible territory between being alive and dead, being
alert and dreaming. It's cinema as hypnosis, even beyond cinema as

meditation of, say, Tarkovsky. (Though I didn't much care for Dead Man
by Jarmusch, I thought, at its best, there were Dreyerian touches;
namely that white man can only think of life and death in violently
dialectical terms whereas for the Indian there is no clear boundary
between the two; thus, white man Depp's slip into death as guided by
the Indian becomes truly epic)

I think among the great filmmakers, only a handful had talent
comparable to Dreyer's. Mizoguchi was one. Ugetsu, like Vampyr, puts
us in a trance and til it's over we're transfixed. The effect on the
audience is total, musical. Kurosawa was one of the greatest but his
images never accumulated this kind of power. Kurosawa's films were
houses constructed of wood whereas Mizoguchi's films are trees
themselves. Organic and alive. Bresson was perhaps another one yet
his ascetic aesthetic sometimes went for threadbare expression that
remained too stark and cerebral to attain the kind of power in films

such as Passion of Joan of Arc and Vampyr.

Haunting Tale of Life and Death & Incredible Early Animation
In a small French town, a man named Allen Gray (Julian West) takes a room at an inn. His sleep is interrupted when a strange man (Maurice Shutz) comes into his room speaking incoherently about death. The man leaves a small package with instructions that it should be opened upon his death and departs. Allen gets out of bed and prowls around the inn in search of an explanation, eventually wandering onto a nearby estate where he finds the mysterious man who was in his room living with his two daughters. One of his daughters has been bitten by a vampire, and the house is shrouded in death.

"Vampyr" was written by director Carl Theodor Dreyer, who was inspired by the Victorian supernatural tales "In a Glass Darkly" by Seridan Le Fanu. The film has a semi-coherent narrative, but it is primarily an abstract meditation on Death. Dialogue is sparse, in German, sometimes muffled, and not consistently subtitled. The story is also told with text that is displayed between scenes. But it is the film's cinematography and score that do the most to communicate "Vampyr"'s sense of mystery, foreboding, and helplessness. Rudolph Maté's cinematography is truly astounding. I was most struck by the way that the camera just kind of lurks, mimicking Allen's activity as he explores the inn. And Maté created some truly effective visual effects in spite of 1932's primitive technology. Wolfgang Zeller's score provides most of the film's audio track and reveals more about the characters' feelings than the spare dialogue does. "Vampyr" won't appeal to those who prefer a strong narrative. It is often abstract. "Vampyr" concerns what goes on in the hearts and minds of characters facing circumstances beyond their control and understanding -facing death itself, and these things are not explicitly communicated. Carl Dreyer's direction and Rudolph Maté's cinematography are terrifically creative. Recommended if you like abstract tales of death or admire extraordinary early cinematography.

Also included on this DVD is an animated short film from 1934 entitled "The Mascot". This is a fantastic example of early stop-motion animation by director Wladyslaw Starewicz. "The Mascot" was created using puppets or dolls that were photographed one frame at a time in order to animate them. It was certainly the inspiration for Pixar's "Toy Story" and Tim Burton's "The Nightmare Before Christmas", and a considerable influence on many other modern animated films. "The Mascot" is about a toy dog who is trying to bring an orange back to the little girl who loves him. And you wouldn't believe the obstacles that he encounters. The animation is extraordinary; the dog is adorable beyond words; the story is sweet and sinister all at once. I have never seen such facial expressions in an animated film before. I have rarely seen such creativity. "The Mascot" is, in fact, the best animated film I've ever seen. It is absolutely enchanting! Fans of animation will want this DVD just for "The Mascot". The film is French, and the few lines of dialogue are dubbed in English. "The Mascot" gets five stars. I can't recommend it highly enough.

The DVD (Image Entertainment): "Vampyr" starts playing as soon as you insert the disc. And there is no Menu, only Scene Selections. The disc does not pause between "Vampyr" and "The Mascot"; it just keeps going. If you want to see "The Mascot" without watching "Vampyr", go to the last scene selection. The print of "Vampyr " isn't very good, especially in the first act. But it's not so bad that it detracts from enjoyment of the film. The print for "The Mascot" is fine. "Vampyr" is subtitled in English only. And, if ever a film would benefit from an audio commentary, "Vampyr" would. But it doesn't have one. So this DVD isn't very well constructed. But it contains two important and fascinating examples of 1930s European cinema, both of which are very much worth owning.

Carl Dreyer's creepy vampire mystery
Carl Dreyer, one of Scandinavia's finest directors, brought this film to the screen in 1932. It is image driven, with not a lot of dialog. Dreyer creates a number of scenes, with the atmosphere raised to the peak, with scary music playing throughout the film. We see Allan, an occult researcher staying at a house. He sees some very scary, werid things there. It seems vampires are controlling the people there, and it is up to him to save them, destroy the vampire, and escape. We follow him investigating the gothic home, with images of death in every room. In one scene he dreams of his own burial! We don't see much of the vampire though, mostly the haunting effects it has on the residents. This film is really creepy, and atmospheric. I'd recommend it highly to those who enjoy the old style, slow, spooky, gothic horror films. 4 stars. ... Read more

Description

One of the world's greatest directors, Carl-Theodor Dreyer has long been hailed for such masterpieces as The Passion of Joan of Arc, Vampyr, Day of Wrath and Ordet. Now we meet a different Dreyer who engages with broad humor, then gradually guides to a wise, bittersweet resolution. Aspiring parson Sofren is engaged to Mari, but her father won't allow them to marry until Sofren gets a ministry. He's hired by a small rural congregation only to discover that according to local custom, the widow of the deceased pastor may marry his successor. An aged woman who has already buried three earlier husbands, Dame Margarete asserts her right in order to keep her home, but Sofren also brings Mari to the parish claiming that she is his sister. The two plan to wait for the elderly woman to die. When it appears she might be eternal, Sofren begins a series of silly pranks to hasten the old lady's end, but before her death her wisdom, dignity and selflessness teach the young couple a great deal about fundamental humanity. Called "the first real Dreyer film," The Parson's Widow (aka The Witch Woman) prefigures key themes in his later work. Beautifully photographed in the 17th-century museum village of Lillehammer, Norway, the film's original luminous quality is captured in this digitally mastered edition from a 35mm camera-negative print. Plus two rare Dreyer shorts! They Caught the Ferry (1948, 12 mins.) adapts the technique of Dreyer's horror/fantasy Vampyr to a chilling and unforgettable miniature on driver safety. Thorvaldsen (1949, 11 mins.) uses the long lenses and confrontational style of The Passion of Joan of Arc to illuminate the search for truth in the work of the greatest Danish sculptor, which turns out to have a surprising affinity with Dreyer's own cinema. All three films digitally mastered from 35mm archive prints. The Parson's Widow is speed-corrected and tinted, with new music compiled by Neal Kurz from the works of Edvard Grieg. ... Read more