In other words,this film is a surreal ride.

Close shines in drama with strong language, adult themes.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

With Danish director, Carl Dreyer clearly going against the grain here in direct defiance of glamour and beauty - I'd say that as a perceptive film-maker - He was also something of a sadist to deliberately drag his audience through such an unpleasant religious-based hell as this.I mean - What an absolutely damning statement about the hypocrisy of Christianity this film's story inevitably made.Now 90 years old - This hideously bleak freakshow of stark, barren sets and unflattering close-ups sort of reminded me (in an odd way) of David Lynch's "Eraserhead".For me - The undeniably best moment in this truly unpleasant, yet strangely compelling, cinematic experience was, of course, Joan's tear-filled head-shaving scene.I think it's interesting to note that actress, Renee Falconetti (who played the Joan character) said that she never understood all of the positive reaction to her performance.

The trial and execution of Joan of Arc. Powerful drama. Starts rather tamely, and it seems like the movie could just be a back-and-forth dialogue between Joan and the judges / priests. However, the dialogue is spot-on, and the verbal jousting is wonderful to behold.Great direction by Carl Theodor Dreyer. His use of close-ups is a masterstroke, giving a great intimacy with and engagement to the character of Joan. Quite gritty, realistic direction too. Very graphic for 1926 - the last few scenes are incredibly harrowing.What makes the movie is the performance of Maria Falconetti in the lead role. Superb, conveying vast amounts of emotion and thought without saying a word. Surely one of the greatest physical drama performances in all of cinema.

A truly beautiful and powerful film of such an influential and admirable status that not many films could ever achieve such praise. Dreyer's vision with The Passion Of Joan Of Arc is still recognised as one of the greatest pieces of filmmaking in existence.Falconetti's performance as Jeanne d'Arc is widely accepted as one of the greatest performances ever committed to film and it should be very clear as to why. Her performance is very restrained, subtle and mature, providing distinctive character development, understanding and empathy through only her facial expression. The silent era was one where over-acting had become common but her performance did not follow such a convention and even by today's standards it's still a beautifully restrained performance. Her face and eyes are so expressive and emotional that they speak louder than any dialogue ever could, and with the film's cinematography focusing on extreme close-ups of the characters' faces, it emphasises the power that Falconetti could harness through such acting. The close-ups also allow us, as viewers, to pay attention to every facial twitch of Jeanne d'Arc throughout the film, adding to the emotional torture that she must have faced.The film is beautiful in every respect, from its cinematography's focus on extreme close-ups, its supporting character performances and even the few moments you truly glance at the set design and decorations. It all contributes wonderfully to Dreyer's vision of the trial of Joan of Arc, but the highlight for me, along with many other viewers, is certainly Falconetti's performance. It's honestly heartbreaking when the inevitably tragic ending is portrayed as for the brief time we, as viewers, have been watching the film, it certainly feels like we have got to know who both Jeanne d'Arc and Falconetti are and that she has opened herself up to the world - her performance is one of the most genuine performances I've ever had the pleasure of viewing.I definitely recommend this film, whether you're curious about acting, cinematography or silent cinema, this should definitely be essential viewing.

I watched the Criterion Collection from an original found in a Norwegian mental institution in 1981. The condition of the film looks crisp and perfect. It is based on the trial transcript of Joan of Arc. The film starts with Joan in prison. The religious authorities question and berate the young girl. They bring her to the torture chamber. At the breaking point, the priest guide her hand in signing a confession. She is eventually burnt at the stake. Renée Jeanne Falconetti stars as Joan. Her big eyes glow with passion. She is a bit old to play the teen martyr. Otherwise, this is an impressive acting performance from the silent era. The constant use of closeups is quite compelling. It's almost a piece of painting or art.