I don't think it hit for me. It didn't feel as emotionally resonant as Carl Theodor Dreyer's The Passion of Joan of Arc and overall fell flat for me. Though, the performances are definitely the highlight of this with Seberg. But overall, just wasn't what I was expecting in a tremendously off base way.

I don't think it hit for me. It didn't feel as emotionally resonant as Carl Theodor Dreyer's The Passion of Joan of Arc and overall fell flat for me. Though, the performances are definitely the highlight of this with Seberg. But overall, just wasn't what I was expecting in a tremendously off base way.

Gosto muito de como a direção flerta com um tom quase inocente, de contos de fadas na primeira parte, e um realismo cruel na segunda. A história de Joana d’Arc é uma história de confrontos entre o concreto e o etéreo, entre a fé e a religião e entre a sobriedade jurídica e a inocência metafísica.

Gosto muito de como a direção flerta com um tom quase inocente, de contos de fadas na primeira parte, e um realismo cruel na segunda. A história de Joana d’Arc é uma história de confrontos entre o concreto e o etéreo, entre a fé e a religião e entre a sobriedade jurídica e a inocência metafísica.

I had a hard time figuring out what was the underlying theme of the plot. It’s probably more obvious in Bernard Shaw’s original play but Graham Greene’s screenplay is constantly distracted and Preminger’s direction feels once again stagey. However it’s not as bad as its reputation assures. And I particularly enjoyed the fantastic elements of it. Jean Seberg is great in this innocent version of the French heroine (canonized just a century ago) but Richard Widmark is totally unrecognizable as The Dauphin King of France. 
All in all it’s a decent and harmless take on the story of Jeanne d’Arc that focuses more on the dramatic events of her life rather than the historic, political or religious aspects of it.

I had a hard time figuring out what was the underlying theme of the plot. It’s probably more obvious in Bernard Shaw’s original play but Graham Greene’s screenplay is constantly distracted and Preminger’s direction feels once again stagey. However it’s not as bad as its reputation assures. And I particularly enjoyed the fantastic elements of it. Jean Seberg is great in this innocent version of the French heroine (canonized just a century ago) but Richard Widmark is totally unrecognizable as The Dauphin King of France. 
All in all it’s a decent and harmless take on the story of Jeanne d’Arc that focuses more on the dramatic events of her life rather than the historic, political or religious aspects of it.