‘ fate cain z seo tt age teem fence se lanatie Gia ale Wes depos en 6 hen Bone tas Reet Die Coa Oras Say Gat, ge Inston ih Jp el Micali Pare Clamp Distt tpopty Rua Ute Aaieon tran Ham Prete dena as Costes Varies Prt Taachta ve DvD pensar Sn igh Aron Teimal ee Lele Preto Germ Ector Shon Atay Nem and woageéesgn Boa Gi Ketospevsr en fan Comme eiten by Cape je Connery rst” at nthe Se, Scape ea Engh stig Men sin Li Siketanatia sab DDneseng Ca ta ie, Dea ctel Was Tora ‘ler rade, Gogo Mein ad Sanne wer aunt Fine nny Borger Tomas Crean ad ene Bobohn Dns Fn ste Lars Bred Rabe; ernie igund/ lotheqie dui: Gace Ro, jth May. jae Dain Pal Ceo, Rose Schwa Kran Connelly, Mel rane ane Halpe/Soy lac: Richard nha Andy Coke: Ovid Aerdal Tom arr a Katyn Dean Cn Soun ars iS Sto; De Dore/ ene Fs lr Crgon/ Vand Cyt Ute Modern Videofin ‘Tp switch between the menus and the ‘movi, de the MENU hey on your remote Use the ARROW keys fo cycle through ‘ano saeco, Fret ENTER/SELECT £0 ‘ctvate the lesion To act th Voie of Lipht muse wack oF the commentary ‘nhl viewing he fl up the AUDIO ky.REALIZED “THe van oF Ortsans and those matters that surrounded her death began to interest me when the shepherd gil’ canonization in [1920] once again drew the attention of the public at-large to the events and actions involving her—and not only in France, In adltion to rnard Shaw’ ironical play, Anatole France’ learhed thesis aroused {great Interest, too. The more familiar | became with the historical ‘material the more anxious | became to attempt to re-create the most important periods of the virgins Life in the form of afilm. Mysticism (1929) [About the Music Credits Exelamavit/Prelude Chapel Vietory at Orleans (tester fo Joan of a) Interrogation Prison TheJallers Pater Noster The Jalles Return Torture Chamber Torture Deathbed MOVE B “ 6 6 " 18 9 20 a 2 2B 4 MENTS ness tar rm Jan of re) Sacrament Churchyard Abjuration Recantation Relapse karitas Anima The Stake The Final Walk The Burning The Fire of the Dove Epilogue (eter fom oo oe) The Possion of Joan of Arc is presented In its orginal theatrical aspect ratio of 1331. Ths new digital transfer was created, at 24 frames ‘2 second, from a 35mm fine-grain master positive, made from the restored negative. The transfer was then restored utilizing the MTI Digital Restoration System Telecine supervisor: Lee Kline Telecine colorist: Jean-Marc Moreau/ ‘a Laboratoire, Pais ABOUT volces oF LIGHT The Voices of Light stereo surround music track was mixed from the Sony 32-track recording, and synced to the film by Tom Lazarus and Steven Deur of Classic Sound,Even seroresano, | was aware that this project made specific demands, Handling the theme on the level of @ costume film would probably have permitted a portrayal ofthe cultural epoch of the fifteenth century, but "would have merely resulted ina comparison with other epochs. What counted was getting the spectator absorbed in the past the means were multifarious and new. [ArHoRouci stun of the documents from the rehabilitation process was necessary; | did not study the clothes of the time, and things like that. “The year ofthe event seemed as inessential tome as its distance from the present. [wanted to interpret a hymn to the triumph of the soul over lite. What streams out tothe possibly moved spectator in strange close-ups ‘snot accidentally chosen. All these pictures express the character of the ppetson they show and the spirit ofthat time. In order to give the truth, | dispensed with “beautification” My actors were not allowed to touch makeup and powder puffs | also broke with the traditions of constructing a set. Right from the beginning of shooting. let the scene architects build all the sets and make all the other preparations, and from the first to the last scene everything was shot in the right order. Rudolf Mate, who manned the camera, understood the demands of psy- chological drama in the close-ups and he gave me what | wanted, ny feeling and my thought: realized mysticism. Bur m Falconer, who plays Joan, l found what | might, with very bold expression, allow myself to call the martyrs reincarnation” Carl Theodor Dreyer Reprinted by permission of the Danish Film Institut, Copenhagen, Denmark