The film is the last glorious and classic treasure of silent film, but this does not change the fact that it is an unconventional and atypical film. For 21st century audiences, the silent film itself is already daunting, and the film is so maverick and puzzling. Although if you watch the full movie patiently, the audience may find it has such a moving and beautiful appeal and impact. People have never experienced so many and so close "emoji" performances of an actor in a movie. In terms of plot, the film is driven by the interrogation dialogue one after another, while in terms of emotional and emotional communication, it is driven by the performance of actors, especially Maria Falconetti
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The film does not deliberately use the "triune" rule, it pays more attention to its internal connection with religion. Dreyer used the technique of substitution, replacing the whole with parts, and using close-up shots to highlight the small movements of the crowd. In sharp contrast to Rudolf Mattei's film, the film is reminiscent of the touch of nitric acid dripping on metal. In addition, Dreyer reproduced the real pictures of the 15th century in the process of telling the death of Joan of Arc, but there is no artificial color decoration, and it is more simple and simple. The film, like other films by De Layette, has reached a very high level of technology. You should not only praise the Joan of Arc played by Fao Conneti. All the actors in the film cooperate with each other. However, if you evaluate Fao Conneti's performance, you can only find one adjective, that is, "excellent and extraordinary
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The film's aesthetic style contradicts Hollywood's game rules, and Dreyer's early "static paintings of living figures" style. It even completely and thoroughly resists the construction of a complete and coherent narrative space. The empty background, like a human figure floating in a vacuum, characters floating in the corners of the screen, weightless shots, and constantly interrupted actions. The film has no similarity to any previous work by Dreyer, and Eisenstein Or Vertov's works are not at all comparable. It is pure, a challenge to "artistic perception". Its vitality is rooted in its discontinuity, the separation of narrative and space, and everything that is incompatible with the traditions that audiences are used to. Not only is the movie style, the film on this narrative tradition and also maintained a distance away
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