Jeanne d'Arc

There are many deviations from the accepted facts of Jeanne d'Arc's life as set out in her trial documentation and the writings of the time. This said, the central question of whether she was a saint, an inspired lunatic, wholly mentally ill, or simply a headstrong girl determined to grab her chances while she could is well asked. Many of the comments here assert that Besson makes it clear that the Maid was simply mentally ill, yet I read the film as deeply ambivalent about what was going on. Were her visions the hallucinations of a schizophrenic? Were they given by God? What's the difference? More questions are asked: Why does an omnipotent, omniscient, all-compassionate deity allow terrible things to happen? What is the meaning of kingship - to own or to serve? What is the difference between taking the lives of individuals and killing en masse? What's the difference between Christianity and the earthly institutions of that religion? Where does conviction end and fanaticism begin?

Jovavich's Jeanne is plagued by the difference between her idea of utter submission to God and the consequences of doing so; by doubt over the veracity of her visions; and by the gap between her ideals of the divine rights of kings and realpolitik. She is constantly on the verge of a nervous breakdown - is this a manifestation of her mental illness, or of her "burning for God"? And where's the difference between the two?

The film raises more questions than it answers, and that's as it should be. It is something of a shame that Besson's film takes liberties with the facts as we understand them (though history is more often about our interpretation of events than the events themselves), but in terms of raising important questions on the nature of faith, it succeeds beyond measure.

The combination of Luc Besson and Mila Jojovich is a recipe for criticism. As in, "Oh sure the star is the directors wife". That would be true if Luc Besson was anything less than a great director or Mila Jojovich anything less than a great actress. This film accomplished a lot. Visually spectacular, historically challenging, and in many ways ingenious. Most of all, it didn't fall prey to the unconditional hero worship or unquestioning belief that most films about moving historical figures do. The film maintains it's historical modesty, questioning rather than preaching or glorifying. If you are looking for a moving, spiritual, emotional movie it's got all that. If you are looking for medieval warfare in all it's glory, it's got all that.

But sadly it is flawed. Much to my chagrin, as I do admire most of his work, Dustin Hoffman's performance is, to put it mildly, a big downer for the film. He is clearly at a loss as to what his character or purpose is in the film. His performance is uncomfortable and distracting. Despite his lower appearance in the credits, his role was critical in the film. It's a real detractor. But aside from this one glaring flaw, the film is of the highest quality on all accounts. I was riveted from beginning to end and wouldn't hesitate to watch it again. Because of it's one casting/directing flaw I have to rate it an 8 but on every other count it's a 10.

...but it still made interesting viewing. More biographies of Jeanne d'Arc exist than of any other person, and any attempt to portray her rather incredible life as France's greatest heroine and martyr on film can expect to encounter a similarly large number of second-guessers. This is precisely what happened when this picture came out. Reviewers went on at length about what the picture should have been about, and how Joan should have been portrayed (and by whom), leaving readers to wonder what they thought of the picture that HAD been made. This tendency to review the picture they wish had been made is a classic failing in many critics and this picture seemed to bring it out especially often.

The picture that Luc Besson made here deserves to be appreciated on its own merits. It is visually stunning, rousingly action-packed, and full of interesting period details. Yes, casting his supermodel wife Milla Jovovich in the lead was a risky choice, as her looks were hardly those of a typical medieval peasant. Yes, her performance did not resonate with the period the way one by a more classically trained actress might, although she was clearly never trying to be Ingrid Bergman. Still, Milla's hyperactive personality made her interesting and watchable as a historical person about whom so much has been written, who nonetheless existed so far back in the past that she lacks a strongly identifiable humanity. When somebody makes a better statue than a person, as Joan does from a contemporary viewpoint, odd casting choices can be forgiven if they work. Milla's twisty mannerisms, rolling eyes and whispery speech give the viewer constant occasions to ponder just how much of Joan's fanaticism came from genuine devotion to God and the church and how much was just an under-medicated personality disorder. This is actually one of the key scholarly issues surrounding Joan's life, and the picture brings it to the fore in its latter part as Joan herself tries to come to terms with her own claims of divine communication by means of a debate with Dustin Hoffman as her confessor-priest/conscience. That Besson takes no particular viewpoint here is an interesting choice, and one which actually helps the viewer to understand why Joan's story has compelled so many generations of historians.

The political aspects of Joan's life and legend were also dealt with in a nicely balanced fashion. Like many figures in times when political and national alliances changed with the seasons, Joan herself blew back and forth between being tremendously useful to the French throne at times and dangerously inconvenient at others. Fame is a powerful commodity at any time, and the picture carefully tracked the rise and fall of Joan's fortunes as she watched hers be manipulated, leveraged and ultimately put on trial.

I thought a lot of The Messenger and recommend it. Religious and historical scholars are advised to approach with caution.

Some movies would probably try to make a more divine spirit out of Joan but at least Besson examines all possibilities as regards to what inspired her. I think it was as honest a film you could make about Joan. Her quest for revenge combined with tremendous belief in the forces above that ignited her fire. Through Dustin Hoffman the viewer can question her motives and get her response. And what a performance! Milla was simply breathtaking as Joan.

If you are wondering about Luc Besson's vaguely heretical "The Messenger: The Story of Joan of Arc", try to imagine a cross between "Excalibur" and "Heaven's Gate". It looks great but the basic story gets lost in the histrionics and excess.

There really was a very religious young girl who was considered a savior to France during The Hundred Years War. Although things may have eventually sorted themselves out the same way without her. Three years after her birth, the new tactics of the English archers were responsible for arguably the most one-sided battle in military history at Agincourt. The result was credited to Henry V's piety and he got a great passage in Shakespeare. The French aristocracy was almost wiped out by the battle and the English became solidly entrenched in France. Fourteen years later a new generation of French nobility was beginning to assert itself and it was the English and their French allies who were having leadership problems.

Both countries were Catholic at the time and both claimed that God was on their side, a bit like the football player who thanks God for the victory over another team that apparently God did not favor.

Although there are records of both of Joan's trials (her Condemnation Trial and her Rehabilitation Trial) both proceedings had their own political agenda and should be taken with a grain of salt. Besson's film seems to follow the generally accepted version of the story but takes obvious liberties with Joan's mental condition and visions. There is no way to prove or disprove any of this so it is probably as plausible as any other speculation.

What hurts "The Messenger: The Story of Joan of Arc" is that Besson's best scenes are at the very beginning and set too high a standard for the remainder of the film. Jane Valentine is wonderful as the young Joan and Besson shows that his directing skills with young actors was not confined to Natalie Portman's performance in "Leon". This early stuff features some of the most interesting scene juxtaposition that you are likely to see in any film. IMHO it gets off to a better start than any film in cinema history. And the sequence where the young Joan is standing on a hill watching as the English burn her village is as visually stunning as anything ever filmed.

But once Milla Jovovich's grown-up Joan takes over most viewers will find it difficult to stay focused on the story. It's not miscasting, Jovovich is noted for aggressive and daring performances (see "The Dummy") rather than subtlety and nuance, making her a good fit for the take Besson wanted on Joan's personality. The problem is that while a viewer could identify with the young Joan, the older Joan is just repellent. Her story should be inspirational and tragic. Instead it is a bunch of comic book battle scenes and comical melodrama.

But it is worth watching for the production design and the beginning sequences.

Then again, what do I know? I'm only a child.