by Michelle Mclean

Created on: March 08, 2009   Last Updated: March 12, 2009

French Impressionist films relied on quick editing techniques and camerawork in order to relay the message of the film. With regards to the camerawork, the filmmakers used techniques such as superimpositions, filters, framing shots, slow motion, using the camera out of focus and using camera movement to help convey the emotions of the characters and the mood of the story. In "The Passion of Joan of Arc," several of these techniques are apparent, especially the quick cuts, and the framing shots. In Impressionist films the "rhythm was central" (Thompson 91).

This film is composed almost entirely of quick shots between Joan and her captors, creating a surprisingly quick paced film (I was surprised that the ending came as quickly as it did until I looked at the clock). Extreme, often off-center, close-ups of Joan show every flicker of emotion, the anguish and terror in her eyes, the judgment and anger in the eyes of the judges. The judges were often shot with sharp, low-angle shots, conveying their authority over the scared young peasant girl.

This quick cut technique was especially effective during the torture scene, with shots alternating between Joan's horrified face and the implements of torture by which she was surrounded. In the scene before her last interrogation, the camera focuses on Joan's face before whirling quickly at the judges around her, repeating this sequence twice. It is an effective way to convey the thoughts and confusion that must have been spinning in Joan's head. Throughout the majority of the film, Joan appears confused, believing adamantly in herself, but confused as to why she was seen as a threat. After Joan's recantation of her confession, the quick cuts ease. The camera focuses on her face, focuses on a judge or priest, and returns to her. She still looks frightened, she still cries, but she knows her purpose and is no longer confused. The less frantic camerawork conveys the new quiet in her mind.

Impressionists also used "striking settings" in their films, accomplishing this through the use of modernist dcor or real locations (96). The sets in this film were often stark white, which had the effect during the close-ups of Falconetti (who played Joan) of conveying her sense of isolation and purity.

In the narrative, Impressionistic "plots place characters in extremely emotion-laden circumstances. As a result, Impressionist narratives depend to a considerable extent on psychological motivation...[the] cases arise largely from characters' conflicting traits and obsessions" (96-97). This element is very apparent in this film. This film is intensely emotional, almost uncomfortably so. The "psychological motivation" is evident in the frightened Joan signing a confession to save herself from the flames she obviously dreads, and is even more evident in the still scared, but quieter gaze of a Joan who realizes her deliverance is through her martyrdom. While this film apparently had more intertitles than was usual, I don't think it detracted from the film. They were necessary to let the audience know exactly what was going on in the interrogation. Falconetti's performance was superb but an entire film of teary-eyed stares could be a bit confusing without a little help.

Source Cited: Thompson, Kristin and David Bordwell. "Film History: An Introduction." New York: McGraw-Hill, 2003

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