Hellen I like the storyline of this show,it attract me so much

Lawbolisted Powerful

CommentsXp Best movie ever!

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

kijii Graham Greene wrote this movie version of George Bernard Shaw's play for the screen. Nineteen-year-old Jean Seberg made her movie debut here in the title role. She is engaging as the young Maid of Orleans who dresses as a boy and wants to be taken seriously as a soldier who hears voices from the saints in heaven. While watching this movie, it's important to remember that the characterization of Joan of Arc varies widely from the crazy Joan Pucelle, as characterized in Shakespeare's Henry VI, Part I, to a total otherworldly religious victim as seen in Carl Theodor Dreyer's silent classic, La Passion et la Mort de Jeanne d'Arc. Shaw wanted to present his Joan differently and this movie is about Shaw's Joan. Preminger and Greene present a noble effort of Shaw's play. It is entertaining in that it tells a good story without over romanticizing Joan nor over vilifying her chief executioner, Cauchon (Anton Walbrook). Dunois, Bastard of Orleans (Richard Todd) supports Joan's efforts and serves as her fellow soldier-in-arms. Richard Widmark--as the Dauphin that Joan makes Charles VII--plays his role as a childish clown. Finally, (Sir) John Gielgud admirably presents the English side of this story as he portrays Warwick. This movie is quite worth while--especially for Shaw fans.

Alfia Wallace I hesitate to call this film terrible or dreadful or awful as it inspires neither terror, nor dread, nor awe. Babyface Jean Seberg carries less gravitas than Tinkerbell, and is simply unbelievable as a woman who could lead an army. She exudes no power, no inspiration, not even any intelligence. The entire production is painfully stilted. This is a pity, since I do like the play, and Preminger and Seberg have both undertaken much more successful enterprises. That some people are evaluating this film based on their finding it a validation of their religious beliefs has no bearing on its quality as a work of cinema. If you want to see the best Joan of Arc film, see Carl Dreyer's The Passion of Joan of Arc. If you want to see Shaw's Saint Joan, see it in a local repertory theater.

artihcus022 Preminger's adaptation of G. B. Shaw's ''Saint Joan''(screenplay by Graham Greene) received one of the worst critical reactions in it's day. It was vilified by the pseudo-elite, the purists and the audiences was unresponsive to a film that lacked the piety and glamour expected of a historical pageant. As in ''Peeping Tom'', the reaction was malicious and unjustified. Preminger's adaptation of Shaw's intellectual exploration of the effects and actions surrounding Joan of Arc(her actual name in her own language is Jeanne d'Arc but this film is in English) is totally faithful to the spirit of the original play, not only on the literal emotional level but formally too. His film is a Brechtian examination of the functioning of institutions, the division within and without of various factions all wanting to seize power. As such we are not allowed to identify on an emotional level with any of the characters, including Joan herself.As played by Jean Seberg(whose subsequent life offers a eerie parallel to her role here), she is presented as an innocent, a figure of purity whose very actions and presence reveals the corruption and emptiness in everyone. As such Seberg plays her as both Saint and Madwoman. Her own lack of experience as an actress when she made this film(which does show up in spots) conveys the freshness and youth of Jeanne revealing both the fact that Jeanne la Pucelle is a humble illiterate peasant girl who strode out to protect her village and her natural intelligence. By no means did she deserve the harsh criticism that she got on the film's first release, it's a performance far beyond the ken and call of any first-time actress with no prior acting experience. Shaw and Preminger took a secular view towards Joan seeing her as a medieval era feminist, not content with being a rustic daughter who's fate is to be married away or a whore picked up by soldiers to and away from battlefields. Her faith, her voices, her visions which she intermingles with words such as "imagination" and "common sense" leads her to wear the armour of her fellow soldiers to lead them to battle to chase the invading Englishman out of France.And yet it can be said that the film is more interested in the court of the Dauphin(Richard Widmark), the office of the clergy who try Joan led by Pierre Cauchon(Anton Walbrook, impeccably cast) and the actions of the Earl of Warwick(John Gielgud) then in Joan herself. The superb ensemble cast(all male) portray figures of scheming, Machievellian(although the story precedes Niccolo) opportunists who treat religion as a childish toy to be used and manipulated for their own ends. The sharp sardonic dialogue gives the actors great fun to let loose. John Gielgud as the eminently rational Earl whose intelligence,(albeit accompanied by corruption), allows him to calculate the precise manner in which he can ensure Joan gets burnt at the stake and Anton Walbrook's Pierre Cauchon brings a three dimensional portrait to this intelligent theologian who will give Joan the fair trial that will certainly find her guilty. Richard Widmark as the Dauphin is a real revelation. As against-type a casting choice you'll ever find, Widmark portrays the weak future ruler of France in a frenzied, comic caricature that's as close as this film comes to comic relief. A comic performance that feels like an imitation of Jerry Lewis far more than an impetuous future ruler of France.Preminger shot ''Saint Joan'' in black and white, the cinematographer is Georges Perinal who worked with Rene Clair and who did ''The Life and Death of Colonel Blimp'' in colour. It's perfectly restrained to emphasize the rational intellectual atmosphere for this film. Preminger's preference for tracking shots of long uninterrupted takes is key to the effectiveness of the film, there's no sense of a wasted movement anywhere in his mise-en-scene.It also marks the direction of Preminger's most mature(and most neglected period) his focus is on the conflict between individuals and the institutions in which they work, how the institution function and how the individual acts as per his principles. These themes get their most direct treatment in his film and as always he keeps things unpredictable and finds no black and white answers. This is one of his very best and most effective films.

Seanie-5 Perhaps it's just my weakness for short-haired brunettes that made me think that this film had far more in it's favour than it had detracting from it. The direction was admittedly slow, nay stationary, and some of the actors did not help this much.What was not originally appreciated about this film is that the story of Joan of Arc is an exceptionally simple one, but yet cloaked in mystery. Where the film failed was perhaps in not making us empathise with Joan, because we are given nothing of her motivations or her life before or after the seige at Orleans. Compare this to the Besson film, that fails in my eyes for the exact opposite reason, it gives us too much! I liked the film, but I liked it because although I couldn't empathise with a saint, I could empathise with a young woman who knew what she was doing, but didn't know where she was going. What I shall always remember about this film is Seberg's transformation from trusting, coy and innocent to bewildered, bothered and (dare I say it) bewitched. A great performance, and she really ought to have gone on to greater things.