If you are reading this post and you have never seen The Passion of Joan of Arc, stop now. Skip to the end, click on the link to buy tickets and make your life better with just a few taps of the mouse. Then you can come back and read the rest of what I have to say. Passion is not just one of the very best films of all time, but one that has inspired some of the most exciting scores too – despite the director’s misgivings about it being accompanied by music at all. There have been many film adaptations of the story of Joan of Arc, but Falconetti’s haunting portrayal of the saint, in front of Dreyer’s unflinching camera, is unforgettably raw and moving.
In September, you can see Passion at one of London’s most fascinating venues, Shakespeare’s Globe, as part of a season of live music events called Wonder Women curated by Lauren Laverne and The Pool. The music for this screening is a very special score – it’s a mixture of choral singing, electric guitars, harp, horns and synthesisers, written by Adrian Utley (Portishead) and Will Gregory (Goldfrapp) and conducted by Charles Hazlewood. I’ve heard it, back in 2011 at the Queen Elizabeth Hall – and I really loved it. The ancient and modern elements suit this timeless film well. I reviewed that event for a now-defunct and much missed arts blog, so here it is, reprinted, if you like.
Back to the studio for a full-length edition of the Silent London Podcast. I’m joined by Pete Baran to talk about the festival scene, discuss the first silents we ever watched and catch up on the news. We’re joined by London Symphony director Alex Barrett, who tells us about his favourite silent film, The Passion of Joan of Arc, and we preview the British Silent Film Festival as well as reviewing the great Hollywood silent Flesh and the Devil.
We also make inappropriate comments about Greta Garbo, and I get a little bit over-excited about Pordenone. Just another day in the office really.
Just a quick note to tell you about a very special screening of one of our favourite silent films: Dreyer’s The Passion of Joan of Arc will be shown in the atmospheric setting of Islington’s Union Chapel in July. It’s an intense, cathartic, grotesque and beautiful film – every silent film fan should see it at least once.
Do you need me to tell you that it’s based on the transcripts of Joan of Arc’s trial, that Falconetti’s performance will break your heart and it’s one of the greatest films of all time? No, you knew all that. So book your tickets already.
While the director famously intended the film to be played in silence, musicians over the years have created some unforgettable scores for this masterpiece – and this screening will be accompanied by organ, voice and electronic instrumentation. You can watch a clip of the film with this score in the video above.
On Wednesday 17th July the organ will be at centre stage in the musical accompaniment to a landmark screening of Carl Dreyer’s 1928 silent film The Passion Of Joan Of Arc. Composer Irene Buckley has created a haunting score to accompany what is widely considered to be one of the greatest films of all time, and this London premiere performance is set to send shivers down the spines of all of those lucky enough to witness it in the atmospheric surroundings of Union Chapel’s stunning Gothic architecture. Organist James McVinnie will bo on hand, and performed at the recent Royal Wedding, plus in concert with Philip Glass and Richard Reed Parry of Arcade Fire and he also recorded with The National on their latest album. This incredible production has recently sold out in Glasgow and Cork to great critical acclaim – it’s been hailed as “a once in a lifetime experience … pure cinema genius”. The Passion of Joan of Arc comes to London for one night only and cannot be missed.
Why the organ? Why the chapel? Well, the cine-concert is the highlight of a week of events at the Union Chapel called the Organ Project, celebrating the restoration of its classic Henry Willis organ, originally built in 1877:
Restoration is complete on the Union Chapel’s 19th Century organ, which will officially be launched to the public on 14 July 2013 in a week long programme encompassing traditional recitals, stunning contemporary performances and the London premiere of Carl Dreyer’s masterpiece of silent film, The Passion Of Joan Of Arc, set to a new critically acclaimed score for soprano, church organ and electronics. In the launch week and future concerts,The Organ Project will not only honour the legacy of this amazing instrument but also discover new musical perspectives by exploring styles and genres rarely attempted on a mechanical organ. Proceeds will go towards Union Chapel’s Organ Education Outreach Fund.
The Passion of Joan of Arc screens at the Union Chapel on 17 July 2013. Doors open at 7pm and the film will screen at 8.45pm. Tickets cost £15 in advance. Read more and book tickets here.
This is a guest post for Silent London by Alex Barrett.
When Sight & Sound unveiled the results of their once-a-decade poll of The Greatest Films of All Time earlier this year, I was both relieved and disappointed to see Carl Th Dreyer’s 1928 masterpiece The Passion of Joan of Arc riding high at number nine: relieved that the film was there at all (it has been literally in and out of the top 10 every decade since the poll was first conducted in 1952), but disappointed that it wasn’t higher. Why? Because, quite simply, it is more deserving of the top spot than any other film.
Rightly famous for its unbridled use of close-ups, The Passion of Joan of Arc is the nearest cinema has ever come to capturing and rendering the human soul on-screen. But lest you worry that that makes it little more than a relic of pious Christianity, the emphasis here is very much on human. As the opening titles state, the film is concerned with a “simple and human” Joan, one who should be seen not as a warrior, but as “a young woman who died for her country”. Dreyer’s choice of religious subjects has led to great misunderstanding of his oeuvre and, in no uncertain terms, his interest throughout his career remained grounded in a thorough examination of human (and often female) suffering.
Here, the suffering woman is Joan of Arc, The Maid of Orléans, a young peasant girl who led an army into battle in the hope of driving the English out of 15th-century France. Believing herself to be working under the auspices of three different Saints, Joan was eventually captured, tried and burnt at the stake at the age of 19. It is her trial and execution – her Passion – that Dreyer retells, basing his film upon the transcripts of the actual trial.
Avoiding the spectacle of many historically set films, Dreyer opted instead to keep his camera focused on the faces of Joan and her assailants. Condensing, as he does, the events of Joan’s lengthy trial and execution into a single day, Dreyer approaches a unity of time, place and action – and yet, for all his painstaking historical research, the film’s fractured use of cinematic grammar elevates the action beyond the physical world and into a metaphysical realm. The sparseness of the film’s sets eliminate depth, while the constant close-ups and broken eye-lines render the space unimportant (and, to an extent, unintelligible). Joan and her suffering are all that matter, all we must understand. The historical context and politics are secondary; first and foremost is a scared, tormented young girl. Dreyer may have denied that his film belonged to the avant-garde, but this is not conventional film-making: every aspect, from the architecture to the camera movements, from the rhythm to the compositions, conspires to contribute to Joan’s assault. Even now, after more than 80 years, Dreyer’s film is as fresh and as powerful as the year it was made: this is form and content synthesising at the highest level. And, while it would be a crime not to comment on the uniformly superb performances, to do so would be to undermine the purity of the film’s perfection. Falconetti does not play Joan. She is Joan. And Joan, for now and for evermore, is Falconetti.
Thankfully, Mie Yanashita’s piano score turns out to be something of a marvel. Echoing the rich simplicity of the film itself, Yanashita focuses on the film’s tenderness, allowing moments such as the shedding of Joan’s first tear a new beauty. Listening to this music with the breathtaking 20fps restoration was like seeing the film again for the very first time (a feeling no doubt cultivated by the insertion of the original Danish intertitles and their new English translation). There is a startling splendour to the restoration, and while the 24fps version may feel more familiar, moments there slipped over take on new resonances here, while the slower pacing allows a fuller savouring of the images in all their glorious detail. As the film progresses and the tension mounts, Yanashita isn’t afraid to pick up the drama, yet still manages to avoid the occasional heavy-handedness that marred Utley and Gregory’s recent score. While it’s perhaps true that Yanashita’s score never reaches the dizzying heights of Einhorn’s, it’s a moving and graceful accompaniment nonetheless.
Unfortunately, the same can’t be said for Loren Connors’ tedious and barbaric soundtrack to the 24fps version, which somehow manages to do the impossible and actually take the life out of the film. Perhaps it will appeal to some, but I found it insensitive and intrusive, and for me it detracted from the viewing experience far more than it added to it. I would certainly urge first-time viewers of the film to steer well clear.
It should be noted, of course, that Dreyer expressed a preference for the film to be viewed silent, and Masters of Cinema has loyally made this the default option for playback, so in some respects the choice of soundtracks is irrelevant. However, being given the choice of two scores (or three if you count the silence) and two playback speeds makes this a very special package indeed.
Completing the package is another, alternative version of the film: the complete ‘Lo Duca’ cut. When the original camera negative was thought lost to a lab fire, Dreyer reassembled the film using alternative takes … only for this new version to be lost to a second fire. However, in the 1950s the French film historian Joseph-Marie Lo Duca stumbled across a print of Dreyer’s second version. After recutting the film, Lo Duca put his version into circulation, despite Dreyer’s disapproval. Generally considered a bastardisation of Dreyer’s original vision, the Lo Duca version of the film has been relegated to the status of curiosity ever since the miraculous discovery of Dreyer’s first version in the closet of a Norwegian mental hospital in the 1980s. Yet, for those with a passion for Joan, it’s a fascinating alternative version – an imperfect version of a perfect film. The first thing that struck me about it was the fact that the actual experience of watching it is nowhere near as horrendous as one would expect, given the interference. Additions such as an opening voiceover detailing the historical background may go against the very fabric of Dreyer’s intentions, but his genius still shines through. What’s more, a comparison of the Lo Duca and original versions teaches us much about Dreyer’s film-making choices.
Such a comparison is made easier by the excellent essay Two Passions – One Film? by the preeminent Dreyer scholar Casper Tybjerg, found in the accompanying 100-page booklet. Alongside Tybjerg’s essay are pieces by Chris Marker, André Bazin, Antonin Artaud, Luis Buñuel, HD, and Dreyer himself. But the bulk of the booklet is formed by a chapter from Jean and Dale D Drum’s Dreyer biography My Only Great Passion, which, in detailing the film’s production, puts lie to the idea of Dreyer as a cruel despotic director who tortured Falconetti’s performance out of her (written with approval and assistance from Dreyer, My Only Great Passion remains the definitive Dreyer biography).
Although the excellent booklet goes a long way towards making up for it, it’s a shame that no audio commentary was included in the package (especially given Tybjerg’s excellent commentary on the Criterion DVD). However, while Tybjerg’s commentary and Einhorn’s Voices of Light mean you shouldn’t throw away your Criterion disc just yet, it’s undeniable that the new restoration and the choice of versions take the Masters of Cinema release to the next level. This is an essential purchase in every conceivable way.
The news gets better. You can win a pair of tickets to any of these screenings and all you have to do is tell me how much you want to go. Complete one of these sentences in 15 words or fewer to win a pair of tickets to the screening of your choice – as well as a pair of tickets to the Call it a Classic? panel discussion at the beginning of the month. I’ll pick the best sentences with an independent judge and our decision will be final. So make your answer as wise, witty or profound as possible!
I want to see Sunrise: A Song of Two Humans because …
I want to see Man With a Movie Camera because …
I want to see The Passion of Joan of Arc because …
Email your answers to firstname.lastname@example.org with the name of your chosen film in the subject header by noon on Sunday 2 September 2012. For your information, the Passion and Movie Camera screenings will have live musical accompaniment. The Sunrise screening will have a musical score but not live music.