The Passion Of Joan Of Arc full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

After having led numerous military battles against the English during the Hundred Years' War, Joan of Arc is captured near Compiegne and eventually brought to Rouen, Normandy to stand trial for heresy by French clergymen loyal to the English.

On 30 May 1431, Joan is interrogated by the French clerical court. Her judges try to make her say something that will discredit her claim or shake her belief that she has been given a mission by God to drive the English from France, but she remains steadfast. One or two of them, believing that she is indeed a saint, support her. The authorities then resort to deception. A priest reads a false letter to the illiterate prisoner supposedly from King Charles VII of France, telling her to trust in the bearer. When that too fails, Joan is taken to view the torture chamber, but the sight, though it causes her to faint, does not intimidate her.

When she is threatened with burning at the stake, she finally breaks and allows a priest to guide her hand in signing a confession. However, the judge then condemns her to life imprisonment. As the jailer shaves her head, she realises she has been unfaithful to God. She demands that the judges return and she recants her confession.

As more and more around her begin to recognise her true faith and calling she is permitted a final communion mass. She is then dressed in sack-cloth and taken to the place of execution. She helps the executioner tie her bonds. The crowds gather and the fire is lit. As the flames rise the women weep and a man cries out "vous avez brûlé une sainte" ("you have burned a saint"). The troops prepare for a riot. As the flames consume Joan the troops and crowd clash and people are killed. Joan is consumed by the flames but they protect her soul as it rises to heaven.

Background and writing

After the success of Master of the House in Denmark, Dreyer was invited to make a film in France by the Société G?n?rale des Films and proposed a film about either Marie Antoinette, Catherine de Medici or Joan of Arc. He later claimed that the final decision on the film's subject matter was determined by drawing matches. Joan of Arc was in the news in France after World War I, having been canonised as a saint of the Roman Catholic Church in 1920 and adopted as one of the patron saints of France. Dreyer spent over a year and a half researching Joan for the film, and the script was based on the original transcripts of Joan's trial and execution, condensing 29 interrogations over the course of 18 months into one scene. The transcripts of the trial had been published in 1921 by editor Pierre Champion and were the main basis of Dreyer's script. The rights to Joseph Delteil's 1925 book on Joan of Arc were also purchased for the production, but nothing from Delteil's book was used in the finished film. However, at the film's premiere Delteil was partially credited as a source.

Casting

Joan of Arc was Renée Jeanne Falconetti's second and last film role. Although she always preferred the art of theater to cinema and said she never understood the positive reaction to the film's acting, Falconetti's performance achieved iconic status in film history almost immediately. Dreyer had gone to see Falconetti backstage at a performance of Victor Margueritte's La Garçonne, a comedic play in which she was appearing. He was initially unimpressed, but upon seeing her a second time the day after, Dreyer said he "felt there was something in her which could be brought out; something she could give, something, therefore, I could take. For behind the make-up, behind the pose and that ravishing modern appearance, there was something. There was a soul behind that facade." Dreyer asked her to do some screen tests the next day, but without any make-up. During the tests, he "found in her face exactly what I wanted for Joan: a country girl, very sincere, but also a woman of suffering." Dreyer then told Falconetti about the film and her role in great detail. She agreed to star in the film, secretly hoping that she would not have to cut her hair or forgo make-up.

Jean Renoir praised her performance and said "That shaven head was and remains the abstraction of the whole epic of Joan of Arc." She was famously treated harshly by Dreyer, who had a reputation for being a tyrannical director. Dreyer would always clear the set whenever Falconetti needed to act in a particularly emotional or important scene, allowing her to focus without any distractions. Dreyer often had difficulties explaining himself to Falconetti and was known to turn bright red and begin stammering when passionately directing her. Dreyer had stated that a director "must be careful never to force his own interpretation on an actor, because an actor cannot create truth and pure emotions on command. One cannot push feelings out. They have to arise from themselves, and it is the director's and actor's work in unison to bring them to that point." Later in post-production, Falconetti was the only cast member to watch the rushes and the film's editing. According to critic Roger Ebert:

For Falconetti, the performance was an ordeal. Legends from the set tell of Dreyer forcing her to kneel painfully on stone and then wipe all expression from her face—so that the viewer would read suppressed or inner pain. He filmed the same shots again and again, hoping that in the editing room he could find exactly the right nuance in her facial expression.

Among the other cast members was French playwright Antonin Artaud as the monk Massieu. Artaud later stated that the film was meant to "reveal Joan as the victim of one of the most terrible of all perversions: the perversion of a divine principle in its passage through the minds of men, whether they be Church, Government or what you will."

Cinematography

The camerawork of The Passion of Joan of Arc was highly unconventional in its radical emphasis on the actors' facial features. Dreyer shot much of the film in close-up, stating, "There were questions, there were answers- very short, very crisp... Each question, each answer, quite naturally called for a close-up... In addition, the result of the close-ups was that the spectator was as shocked as Joan was, receiving the questions, tortured by them." Dreyer also did not allow his actors to wear makeup, the better to tell the story through their expressions—this choice was made possible through use of the recently developed panchromatic film, which recorded skin tones in a naturalistic manner.

Dreyer often shot the priests and Joan's other interrogators in high contrast lighting, but then shot Joan in soft, even lighting. Rudolph Maté's high-contrast cinematography also allowed unappealing details in people's faces, such as warts and lumps, to be fully visible. In addition, Dreyer employed many low-angle shots of Joan's persecutors so that they would appear more monstrous and intimidating; in the effort to do this, several holes were dug on the set for the camera to film from the appropriate angle, causing the crew to nickname him "Carl Gruyére". Dreyer also shot the film "from the first to the last scene ... in the right order."

Art direction

The film had one of the most expensive sets ever built for a European film up to that time. Upon being given a budget of seven million francs, Dreyer constructed an enormous octagonal concrete set to depict Rouen Castle. 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. They also relied on medieval manuscripts with accurate architectural drawings, such as John Mandeville's Livre de Merveilles. The huge set was built as one complete, interconnecting structure instead of in separate locations. 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. A functional drawbridge was also built into one of the walls. 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, 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. Hermann Warm's original models for the film's set are currently stored at the Danish Film Institute Archives.

The Passion of Joan of Arc debuted on 21 April 1928 at the Palads Teatret cinema in Co