Joan the Maid is a two part French film released on February 9th, 1994 as Joan the Maid, Part 1: The Battles and Joan the Maid, Part 2: The Prisons. It is directed by Jacques Rivette and stars Sandrine Bonnaire as St. Joan of Arc. It received a U.S. release (which cut out nearly two hours of footage) on November 29th, 1996. In 2019, a 4K restoration of the original cut was undertaken. This restoration was released on Blu Ray in the U.S. in December of 2019.
The first part (The Battles) uses a traditional three act structure. First, we see Joan's struggle to persuade Robert de Baudricourt (Baptiste Roussillon) to give her an escort the French Royal Court at Chinon. We hear of of the apparitions she has received, though the exact nature of them will not be revealed until later. This act culminates with her arrival at the French court and her meeting with the Dauphin, Charles (André Marcon). Next, Joan's theological examination at Poitiers is dealt with and it is here that her apparitions (from Saint Margaret, Saint Catherine, and Saint Michael) are delved into in greater detail. At the same time, she begins training for combat. This act concludes with the decision of the prelates to put her words to the test by allowing her to participate in the battle of Orleans. Finally, Joan joins up with the forces of the Bastard of Orleans (Patrick Le Mauff) in his war against the English and the Burgundians, culminating in the lifting of the English siege of Orleans.
Part 2 (The Prisons) is broken up into a four act structure. In the first half of the film we pick up where Part 1 left off as the French, lead by Joan experience one miraculous victory after another. This culminates with the crowning of the Dauphin at Reims. As the film progresses, Joan becomes more and more trapped, first by circumstances, then literally through imprisonment. Next the French are stopped short at Paris when Charles decides to form a truce with the Burgundians. Returning to Reims with the King, Joan is frustrated at being stuck at the French court while here former allies continue to fight the English against the Charles' wishes. He eventually allows her to return to battle where she is captured by the Burgundians.
In the second half of the film, Joan suffers increasing persecutions. First, she is held in the castle of Beaurevoir, where she is treated courteously by the mother and daughter of her captor. Then, she is turned over to the English and questioned by a Burgundian inquisitorial court. She is abused and harassed by her English captors but remains steadfast in her denial of practicing witchcraft. Finally, she is condemned by the Inquisition and burned at stake, with the name of the Redeemer on her lips.
Throughout, Joan the Maid maintains an almost shocking fidelity to the historical fact. Another reviewer claimed that much of the dialogue was lifted "word for word from primary source accounts." Though I can't confirm if this is true (it is incredibly difficult to find information on the film's production) it would not surprise me. Certainly, the costumes and sets are spot on.
Jacques Rivette, a prolific director of the French New Wave known for his novel approach to cinema, approaches this film almost like a documentary. He takes a somewhat detached, objective approach to the material, which lends the film an austere quality. One of the Rivette's innovations in this film is his use of "interview" scenes akin to a documentary. The actors, in character, sit in front of the camera and reminisce about the events of Joan's life. This allows the director to get around having to portray large scale battles (to some extent) which he did not have the budget to pull off. It also makes the film, surprisingly, more immersive, and adds to its verisimilitude.
Jordi Savall's score, which is entirely comprised of period choral and instrumental pieces, greatly contributes to the film's historical credibility. It is used sparingly and subtlety, adding emotional weight to the film without becoming a crutch for it to rely on. William Lubtchansky's cinematography vividly captures the French landscapes as well as the beautifully recreated interior sets. The production design by Emmanuel de Chauvigny is magnificent and Christine Laurent's costuming is immaculate. The stand out scene (despite or perhaps because of its length) is the coronation in Reims. Presented in real time and chronicling the Catholic ceremony with meticulous detail, it was wonderful to behold for an old Catholic monarchist like myself.
Because of the film's minimalist approach much of the historical context is left out. The background of The Hundred Years' War, for instance, is not presented in any way, nor are we informed of the competing "Armagnac" (led by the Count of Armagnac and loyal to the Dauphin), and "Burgundian" (led by the Duke of Burgundy and allied with the English) factions. When Robert de Baudricourt finally grants Joan an escort, we are not told that he did so because she had correctly predicted the military reversal at the Battle of Rouvray. Later, when she is imprisoned in the castle of Beaurevoir, we are not informed of military campaigns toward Rouen that were intended to break her out. The film prefers to present events, for the most part, from Joan's perspective.
Sandrine Bonnaire gives a great performance as Joan. While most films about the saint paint her as an heroic, legendary figure and/or a suffering, persecuted mystic; this film emphasizes Joan's humanity. As played by Bonnaire she is a determined and deeply pious if somewhat inexperienced young woman. She possesses a disarming quality, seeming to earn the respect, devotion and trust of everyone she meets, even the vulgar, brusque soldiers she fights alongside (indeed Joan's berating of her fellow soldiers for cursing and blasphemy are some of the best scenes in the film) but she also displays, at times, an emotional vulnerability and, occasionally, a sense of doubt.
Joan the Maid is a unique and powerful piece of cinema. Carl Theodor Dreyer's The Passion of Joan of Arc may always remains the quintessential film about the saint, but this is a close second. It's a slow burn but a rewarding one for the patient viewer.
Score: 10/10
Next week: Fatima (2020)
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