The Messenger: The Story of Joan of Arc (1999)
Luc Besson
Frenchman Defames French Icon to Good Ends
I have to admit I went prepared to see an excellent film. The trailer was promising and Luc Besson has never disappointed me. I was not prepared for the stunning experience this film provided. It is an absolutely hypnotic epic which still retains the passion for the individual. I shall not comment on the cinematography which is nothing short of brilliant, or the pace of the movie, which makes even a 30 minute short seem like a turtle in comparison. Beautifully shot, evocative, and full of personal interpretation, this is a movie that does not come along often, especially not in the drab and desolate land of contemporary cinema.
As far as historical accuracy, or respect for the ``real'' Joan, I do not wish to vouch, but the critics who malign the script for being fictionalized and irreverent miss the point (not surprising, it is always the well-educated morons that wreathe like devils in holy water about these things). Anyway, the purpose of a film is not to educate those who are too intellectually-challenged to pick an historical book and read it; people have the Cliff's Notes for that. In what Besson set out to do, the film fully succeeds.
OBLIGATORY SPOILER SPACE
Besson's Joan is passionate and driven, and as any person with a vision, she has little patience for the annoying formalities or those pesky little obstructionists that always find a way to hinder greatness. Deeply religious, she believes it is God that has commanded her to deliver France from the British and into his kingdom. Herein lies her tragedy for it is not God that speaks to her but her own self speaking through him.
One would do good to notice that the brutal beginning has a profound significance. The pastoral idyll where young Joan has her first visions, which are beautiful and serene, is disturbed by the introduction of the sword. It is this sword that she takes home and that kills her sister. From this point on, her visions, superficially the same, in fact reflect her human (and quite natural) desire to revenge this horrible death. She is to be tormented for her failure to realize this.
The film makes clear Joan is the Messenger -- not of God but of the people. Her religious conviction makes her behave recklessly, and passionately, which is the mysterious quality that carries the day with the French king and people. She believed she was sent, and they believed her. This confidence defeated the British and made her dangerous to the new French Crown.
It is in the second part of the film that Joan finally recognizes that she had been hearing her own voice all along. Her monologues in the cell are especially revealing for it is neither God nor Satan who challenges her beliefs. It is the agony of self-delusion being torn to shreds. Joan's tragic death at the stake is all the more impressive because she has no expectation to be saved by the Christian God. One cannot help but feel compassion for Joan and admiration for her sacrifice.
Besson has no great love for the Church or even faith. In this respect, the film is choke full of stereotypes and cliches: we see the obligatory gluttonous well-dressed corrupt Catholics, the craven nobility of the King, the machinations of the ministers, and the stab against the scholars at the University of Paris. Surprisingly, most of these work quite well in the film and are not annoying. In fact, there are places during the movie that you will wish you could jump in and tear some characters to pieces. Excellent. By the way, for those who insist on the religious interpretation, here's a snippet -- it is indeed characteristic of the Christian God to lure someone into doing his work, not help her in any way (making her life as miserable as possible), then crucify her with doubts, and let her inquisitors torch her for no good reason. Typical christian fare.
Mila Jovovich is fabulous, her somewhat hysterical performance fits Besson's angle on Joan extremely well. Hoffman is his usual superb self, not much surprise there. The music is stunning, sometimes majestic in Orff's sort of way, and sometimes chilling. The battle scenes were quite good, some gore, plenty of blood, and just a trifle bit moralizing (this is the only part that put me off somewhat -- it is still bearable, as there really is only one scene that we get to ruminate on the horrors of needless death in war -- this is usually best left to other forms of propaganda). Some scenes carry a significant emotional charge, prepare to sit with sweating palms, clenched fists, and tight stomach. Although all of us know the story, the tension is undeniable and a real pleasure to feel. Recall the goose-bumps you got in that scene in ``Excalibur'' when Arthur rode through the blooming forest under the sounds of Carmina Burana. Unforgettable. And there are several scenes like this in this film.
This should be superfluous by now, but in case you skipped to this final paragraph without reading the stuff in between, here's the recap: see it. Many times. Buy the DVD. Many times. 9 out of 10.
December 4, 1999. BLS