Jeanne, papesse du diable

Costume drama based on popular legend about a 9th century nun who disguised herself as a man and--after some rather innocent deception--became Cardinal in Rome and later Pope before her secret was discovered. Panned by professional critics in 1972, "Pope Joan" was re-edited by nervous executives resulting in a picture that nobody was happy with. Still, despite the mangling, the performances come through, most especially Liv Ullmann's, excellent in the complex leading role. Supporting cast also fine, including Maximilian Schell (very sexy as a randy monk), Olivia de Havilland, Lesley-Anne Down, Patrick Magee, Franco Nero and Trevor Howard. Adequately filmed in London substituting for Italy, and worth a look for the curious. **1/2 from ****

I saw the film on TV, quite by chance. I found the film gripping: the story, the atmosphere and the historical detail.

I have no religious interest, but it made me curious to find out more about 'pope Joan'. The film is a work of fiction based on a legend, with very little factual basis.

Nevertheless, one could really get a sense of life in those times (9th century Europe). Poverty, illiteracy, corruption. The place of women. The violence, that life was worth very little.

Sadly, I think much of the world is just like that today, so perhaps it is a little window on humanity.

"What a surprise! Not only the story, but what a cast! Liv Ullmann, Trevor Howard, Olivia de Havilland, Maximilian Schell, Franco Nero, Leslie Ann Down! And the texture of the movie - the crude medieval villages, the halls of the ancient Vatican, the incredible 10th Century nunnery, the countryside of Saxon Germany, in peace and war, scene after scene that could never have been shot in Hollywood. But the greatest discovery is the performance of Liv Ullmann. If anything ever deserved an Academy Award. She creates more passion and sexual desire with her eyes and the movement of a hand than the whole pantheon of current sex goddesses could with all their bodies and a ravishing musical score behind them. And when it comes to tragedy and fear those same eyes dig so deeply into the soul they leave a mark that haunts you for weeks. This is a wonderful, wonderful picture."

I found the film version of the Pope Joan story compelling viewing because it conveyed the force and importance of Joan's spiritual calling yet portrayed her as an breathing human being (this may be somewhat ironic since it is possible she is only a legend). Here is a woman who hears God's voice and the voice of carnal longing. She is neither the lowly whore nor the ethereal virgin. Also, it is refreshing to see films where spirituality and belief in God are taken seriously.

I found the performances to be excellent, especially those of Liv Ullman and Trevor Howard. Ullman is very good at portraying the vertical pull of spirituality and the wrenching ambiguity of living in the material world. Trevor Howard's performance was utterly convincing. Also, Susan Winter had a quiet presence about her in her brief performance as the young Joan, which impressed me. What a tenuous thing to be a young girl in the Medieval age - what a microcosm she is of all human existence.

This film has its flaws, most notably the disjointed editing and jarred pacing. I do not quibble, however, with the less than ideal sound quality of the dialog or the occasional white lines which momentarily appear on the screen now and again because when I watch a film, I accept the film on its own terms; I do not wish it was something it isn't - a film made on a modest budget in 1972 should not be expected to look and sound like a mega-budget blockbuster filmed in 2006. On the whole, this movie is a success.

Cautionary note: not a movie for kids.

The early 1970's was my favourite period in recent cinema history, classics such as Kubrick's Clockwork Orange, Skolimowsky's Deep End and Visconti's Death in Venice abound; but there are some, less than ringing endorsements of the era, this half-forgotten movie being one.

Liv Ullman, the embodiment of Scandinavian sang-froid, the epitome of ephemeral solemnity, plays Joan, a pious and youthful nun, who travels from a medieval convent, burnt down by Saxons, raping and pillaging, as if they misconstrued it for a set on a Ken Russell film, to Rome where disguised as a (rather attractive) young man, she wins her spurs, becomes a cardinal and eventually the first - and possibly last - female pope.

The trouble is, although Liv's performance is full of meaning and her fights against the alleged sin of lust, particularly enthralling, the editing, jumpiness and preposterousness of some scenes, leave an anxious viewer in need of redemption elsewhere.

True, it is interesting to see actors of the time - Lesley Anne Down, Maximillian Schell, Trevor Howard and Olivia de Havilland - giving robust performances, but a sandwich with an attractive filling is hardly worth eating if the bread is stale. And this is a stale mish mash, which ultimately fails to satisfy. It is a shame. The theme is interesting, whether the story is true or not. Given the current arguments amongst many religions on the role of women, it has significance for us in the 21st Century.

The scenery around Brasov, Romania, where it was filmed, which I visited post Ceausescu, is exemplary. Mind you, maybe the reason for the film's disjointed nature is just that - that the dictator, in his first flush of dictatorial youth, was in charge of production. There again, maybe Ceausescu was a woman. Now that would be a tale worth telling...