banda sonora - inglês # dobragem -português
Enviado por AparicoesDeJacarei7 em 07/11/2011
FILME:SANTA JOANA D'ARC 1948 (COMPLETO) - VIDA E MARTÍRIO DE SANTA JOANA DARC
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Out of the history and the legends of France's great national saint and out of the brilliant stuff of pageants which the bold cinematist commands, Sierra Pictures has fashioned a stupendous film, "Joan of Arc," which moved with the pomp of a procession onto the screen of the Victoria yesterday. Pictorially, it is one of the most magnificent films ever made, bespeaking the vast sum of money and the effort expended on it. Dramatically, it has moments of tremendous excitement and shock. And emotionally it has glimmers of the deep poignancy of the Maid.
But, somehow, the huge combination of pageantry, legend and pathos—of spectacle, color, court intrigues and the historic ordeal of a girl—while honestly intended, fails to come fully to life or to give a profound comprehension of the torment and triumph of Joan. And we'd say that the main reason for this is that the real human values have been lost—or curiously dimm d—in the paramount and prolonged illumination of spectacle.
It is notable that the first part—the first hour or so—of this film is the more fascinating and electric, describing as it does the rise of the Maid of Orleans from peasant girl to savior of France. For it is in this part of the picture that spectacles and pageants are employed not only more fully and frankly but much more appropriately.
Here we have the phenomenon of the simple Domremy girl following the hest of her "voices" to go to the Dauphin of France and offer herself to lead his armies against the English and the Burgundians. Here we have the moving episode of her finding the Dauphin at his court, hidden behind the women in a cruel attempt at jest. And here we have the excitement and the sweep of Joan's recruiting drive, the shock of the battle of Orleans and the brilliance of the crowning of the Dauphin.
But the latter part of the picture, in which the disillusion of Joan is described, followed by her capture and sale to the English and then her long and fateful trial, loses momentum and interest. For here—in this second hour or so—the drama, though personal and interior, is still played in terms of spectacle. The spiritual ordeal of the maiden is confused in the pageant of the trial. And the agony of the execution is likewise lost in the surge of a big show.
Possibly Ingrid Bergman may be partly held to blame for this lack of the deeper human feelings and comprehensions in this film, for Miss Bergman, while handsome to look on, has no great spiritual quality. Her strength seems to lie in her physique rather than in her burning faith. And actually her magnetism for the Dauphin, the people and the knights is evidenced more in her carriage and in her valor than in some fervent glow. In the trial scenes, exposed to many close-ups, Miss Bergman shows the physical wear and tear, without giving too much illusion of a poor girl tormented within.
And it must be said that, histrionically, she comes off second best in these scenes to Francis L. Sullivan, who plays her persecutor, the Count-Bishop of Beauvais, brilliantly. Mr. Sullivan's elephantine volume and his cruel, cunning arrogance in this role bring lightning and thunder to a court-room that is generally static otherwise.
In a very large cast of competent actors, José Ferrer is electric too, as the weak and vacillating Dauphin; J. Carrol Naish is cold as a Burgundian count and any number of others are picturesque as peasants, courtiers, priests and knights.
Although Maxwell Anderson's "Joan of Lorraine" is credited as the basis for the script, there is little or no evidence of it in the screen play of Mr. Anderson and Andrew Solt. None of the intellectual argument or contemporary pertinence of the play is brought forth in this strictly classical picturization of the legend of Joan. And, oddly enough, there is slight eloquence or wit in the film's dialogue.
For, again we repeat, Victor Fleming and Walter Wanger, who together produced while the former directed this film, lavished their main attention and resources upon the spectacle. The costumes are rich, the settings brilliant, the music fitting and the Technicolor superb. But the mystery, the meaning and magnificenc.e of the poor girl called Joan have just been missed.
JOAN OF ARC, screen play by Maxwell Anderson and Andrew Solt, based upon the play "Joan of Lorraine" by Mr. Anderson; directed by Victor Fleming; produced by Walter Wanger for Sierra Pictures and released by RKO Radio Pictures, Inc. At the Victoria.
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