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    Dreyer often shot the priests and Joan's other interrogators in high contrast lighting, but then shot Joan in soft, even lighting. The film had one of the most expensive sets ever built for a European film up to that time. Production designers Hermann Warm and Jean Hugo were inspired by medieval miniatures for their designs, adding unnatural angles and perspectives to add to Joan's emotional state of mind. The castle had towers in all four corners with concrete walls running along the sides.

    Each wall was 10 centimeters thick so that they could support the weight of actors, technicians and equipment.

    Inside the walls were small houses, the courtyard where the burning took place and a cathedral. The entire set was painted pink so that it would appear grey in the black and white film and contrast against the white sky above it. Despite all of the detail put into the set, only segments of it are ever visible in the film, [18] which later angered the film's producers since so much money was spent on the set.

    Dreyer later expressed, however, that the scope of the set heightened the abilities of the actors and actresses to give convincing performances. After a few private screenings, it finally premiered in Paris on 25 October at the Cinema Marivaux.

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    The film's release was delayed due to the persistent efforts of many French nationalists — who objected to the fact that Dreyer was neither Catholic nor French, and to the then-rumored casting of Lillian Gish as Joan. As early as January , Jean-Jose Frappa said that "whatever the talent of the director and he has it And the American 'star' To let this be made in France would be a scandalous abdication of responsibility.

    Dreyer was angered by these cuts, as he had no control over them. Later that year on 6 December, a fire at UFA studios in Berlin destroyed the film's original negative; only a few copies of Dreyer's original cut of the film existed. Dreyer was able to patch together a new version of the original cut using alternate and initially unused takes. This version was also destroyed in a lab fire. Over the next four decades, it became difficult to find copies of Dreyer's second version, and copies of the original were thought to be even scarcer. It was re-released in in a minute cut which included a new narration by radio star David Ross, but no intertitles.

    Saint Joan Arc by Susan Wallace

    Lo Duca then made several significant changes, including the addition of a Baroque score and the replacing of many intertitles with subtitles. For many years, Lo Duca's version was the only one available. Dreyer himself objected to this cut, however. Krogh cut together scenes and sequences from several different available prints to attempt to create a cut that was as true to Dreyer's original vision as possible.

    The original version was lost for decades after a fire destroyed the master negative and only variations of Dreyer's second version were available. In , an employee of the Dikemark Hospital mental institution in Oslo found several film canisters in a janitor's closet that were labeled as being The Passion of Joan of Arc. It was then discovered that they were Dreyer's original cut prior to government or church censorship. There were never any records of the film being shipped to Oslo, but film historians believe that the then director of the institution may have requested a special copy since he was also a published historian.

    On its initial release, the film was a critical success and immediately called a masterpiece. The lawsuit went on until the fall of , during which time Dreyer was unable to make another film. The Archbishop of Paris was also critical, demanding changes be made to the film. It makes worthy pictures of the past look like tinsel shams. It fills one with such intense admiration that other pictures appear but trivial in comparison.

    Of the star, he wrote, " The film and Falconetti's performance have continued to be praised by critics throughout the years. Pauline Kael wrote that Falconetti's portrayal "may be the finest performance ever recorded on film. Some critics have found faults in the film, and Paul Rotha called it "one of the most remarkable productions ever realized in the history and development of cinema, but it was not a full exposition of real filmic properties ".

    Tom Milne stated that "somehow the style Dreyer found for the film seems irremediably false.

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    Instead of flowing naturally from his chosen materials Throughout the film there is a constant stylistic uncertainty, an impurity, which jars heavily today," but adds that " Jeanne d'Arc has a majestic power which steamrollers its way through all its faults and excesses. The Passion of Joan of Arc was ranked as the most influential film of all time.

    Scenes from the film appear in Jean-Luc Godard 's Vivre sa Vie , in which the protagonist Nana sees the film at a cinema and identifies with Joan. In the s film music was normally played live in the theatre.

    The Passion of Joan of Arc - Wikipedia

    Different scores were used for the two premieres of the Passion of Joan of Arc in Copenhagen and Paris. The music of the Paris version, for orchestra and singers, has survived and has been revived. In selections were released in 78 format in a performance by "l'orchestre symphonique du Lutetia Wagram" the Lutetia Wagram being a large Parisian cinema of the time, since demolished.

    Dreyer also heard the sound-track of Joseph-Marie Lo Duca's version of the film, featuring Bach , Albinoni and Vivaldi , of which he disapproved; he appears not to have encountered a score which he considered definitive. From Wikipedia, the free encyclopedia. This section needs expansion. You can help by adding to it. November This article contains a list of miscellaneous information.