L'epica e realistica descrizione del trionfo e della tragedia di Giovanna D'Arco. Una giovane donna di un remoto villaggio francese del xv secolo all'età di 16 anni, seguì il suo destino e c... Leggi tuttoL'epica e realistica descrizione del trionfo e della tragedia di Giovanna D'Arco. Una giovane donna di un remoto villaggio francese del xv secolo all'età di 16 anni, seguì il suo destino e cambiò il corso della storia. Per qualcuno fu un'eroina, per altri una santa, per altri anc... Leggi tuttoL'epica e realistica descrizione del trionfo e della tragedia di Giovanna D'Arco. Una giovane donna di un remoto villaggio francese del xv secolo all'età di 16 anni, seguì il suo destino e cambiò il corso della storia. Per qualcuno fu un'eroina, per altri una santa, per altri ancora un'eretica.
- Premi
- 5 vittorie e 13 candidature
- Look Out
- (as Stephane Algoud)
Trama
Lo sapevi?
- QuizMost of the characters, including Joan's Captains, were real people. Giles de Rais was a real person who, after the war and Joan's death, retired to his lands. Many years later, he was arrested for the murder of more than 100 young boys, and executed. Some historians believe that his crimes were the basis for the French fairy tale "Bluebeard," about a rich man who murders his wives and hides their bodies in his grand house.
- BlooperJoan's older sister was not murdered by soldiers, but survived to adulthood and married. She died ultimately in childbirth.
- Citazioni
Joan of Arc: I've always been faithful to God and I've followed everything He's ever said and I've done everything He's ever asked me to do.
The Conscience: God asked you to do something?
Joan of Arc: Yes. Yes, lots of things.
The Conscience: You mean God said, "I need you, Jeanne."
Joan of Arc: No. But He sent me signs.
The Conscience: Signs? What signs?
Joan of Arc: The wind. The wind. And the clouds, ringing!
The Conscience: Ringing clouds?
Joan of Arc: The dance. The dance. The dance. The dance.
The Conscience: The dance.
Joan of Arc: The sword! The sword lying in the field. That was a sign.
The Conscience: No. That was a sword in a field.
Joan of Arc: No. No, that was a sign!
The Conscience: No. That was a sword. In a field.
Joan of Arc: It can't just get there by itself! It can't. A sword just doesn't get there by itself. It can't just get there by itself.
The Conscience: True. Every event has an infinite number of causes, so why pick one rather than another? There are many ways a sword might find itself in a field.
- Versioni alternativeThe European release was 10 minutes longer than the US theatrical version, which omits, among others, the scene where Joan's virginity is tested before the court of King Charles VII. The longer version has been released in the USA on DVD.
- Colonne sonoreMy Heart Calling
Lyrics and Music by Éric Serra and Achinoam Nini
Produced by Éric Serra
Performed by Achinoam Nini
With the Special Authorization of Interscope/Geffen
So I popped this flick in the DVD player not expecting much. Sacrée merde! What a surprise. It seems, stripped of her futuristic-mutant-motorcycle-riding-vampire persona, she's really quite good. This film--probably the least glamorous of her entire repertoire--really gives her a chance to show her full dynamics. I can't say much more without giving away the plot, so I'll drop it for now.
Now on to the director Luc Besson. For the first half hour or so, he seems to suffer from "I wanna be Kenneth Branagh" syndrome (which is almost as painful as the avian flu). We get a dozen scenes of someone running down a corridor with the camera chasing behind. We get a dozen overhead-camera-twirly shots of someone lying on the ground. We get so many crane shots, you start thinking you're on a construction site. What's wrong with all this? I'll tell you. When the camera swings & sways too much it detracts from the actors' performances. Sure it adds visual drama, but so can a good fireworks scene (with just as much subtlety).
But suddenly, right around the halfway mark, the camera man simmers down. The whole tone of the film changes, becomes darker and more intense, relying on the power of the actors instead of the gimmicky camera-work. This works brilliantly, especially when Dustin Hoffman finally steps in.
This is the break that takes the movie in an entirely different (and possibly offensive) direction. It looks like some IMDb reviewers weren't too happy. I'm sure plenty of others got bored (because the swordfights stop). But me, I thought this change of mood was what made the movie. Suddenly it becomes a spooky, psychological thriller with a lot of great dialogue and a ton of good acting. THIS is the payoff.
My biggest gripe with the movie is that after seeing the 2nd half, I kept saying to myself "why the hell did Besson waste so much time getting here?" There were a few too many insignificant fluff scenes in the beginning (like the virginity test lol) that should have been replaced with more of the powerful Milla-Dustin dialogue toward the end.
I won't comment on historical accuracy, religious sacrilege, lack-of-realism or the fact that there were a few too many American accents for 15th century France. These flaws fall by the wayside if you're instead paying attention to the complex conflict brewing in Milla's character. This is really her movie, and a damn good one at that. Like my title implies, it's good enough to make me want to give Ultraviolet another try.
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Dettagli
- Data di uscita
- Paesi di origine
- Lingue
- Celebre anche come
- The Messenger: The Story of Joan of Arc
- Luoghi delle riprese
- Bruntal, Repubblica Ceca(Fort of the Tourelles)
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 85.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 14.276.317 USD
- Fine settimana di apertura Stati Uniti e Canada
- 6.360.968 USD
- 14 nov 1999
- Lordo in tutto il mondo
- 66.976.317 USD
- Tempo di esecuzione2 ore 38 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.39 : 1