简介
吕克·贝松
米拉·乔沃维奇,达斯汀·霍夫曼,费·唐纳薇,约翰·马尔科维奇,文森特·卡索
战争片
美国
1999
{if:"Four stars.
Too confusing for those who do not believe God, and too simple for those who do.
The leading actress does not perform well enough, for almost everything that can be remembered of her are but roars and tears with a strong but simple will. Maybe that is fit for the Saint Joan, but not for a farm girl Joan. That makes it the legend of a Saint, instead of a biography of a woman. In this way, the most charming and touching part is lost, because as a Saint she needs no longer to be a female or male and she does not have to show the weakness and struggle of a woman in that era, as what she does perform; while it is exactly this part that the director wants to highlight and that makes Joan different from any other heroes in history. It is a shame that she misses the critical feature of her character.
The only scenes showing her weakness as a girl are two, one of which is when she talks with the general at the day of coronation, mentioning the coming distressful fate and her helplessness and some close feeling on him; the other one is at the commission she makes when she was shocked and frightened by the unimagined death penalty, shortly before she realizes that she will lose freedom forever and denies that. The former one is too soon to express herself like a girl, while the latter one is a little too abrupt to be in accordance with her consistent personality.
Compared with a former Jane Eyre, the director of this drama significantly lacks the sights into the personality and power of woman although she is also a female herself.
As for the other roles, the director arranges different models who represent their own interests for their class in the authority. A friend who is kind but hates to be ignored, a kind priest who is really merciful but limited by the knowledge of identification of Saint by the Church, a serious and hypocritical judge who prefer to maintain the righteousness but in his own opinion, the conspirators who cannot wait to murder her because she threatens the position of the authorities of Church, aristocrats and the lords----none of them would save her from fire although she has given them the triumph and independency, and the proofs of her accompany with God.
For this part, the roles setting is interesting, nonetheless stereotyping. And these stereotyping roles together with the unchangeable scenery make a dull and simple impression on the whole.
However, the questions offered in the drama are great. And those are questions still haunting modern people----that is why the director sets the scenery of a modern style, I think. How can you differentiate a real Saint from a heretic? If you are a Christian, what will you do if one day you face a sister who claims undoubtedly that she is hearing from God directly? Do you really want to meet a Saint as you say one time and another? How should the power of the Church be? Is its unique and exclusive power to judge the righteousness, to declare the order of God, and to identify the Saint? What about the authority of kings, aristocrats and governments? What are their roles supposed to be in aspect of judging, controlling and governing the ordinary Christians? And to what extent they should be obeyed? Although they are not new questions that the director offers for the first time, they are meaningful and thought-provoking."<>""}Four stars.
Too confusing for those who do not believe God, and too simple for those who do.
The leading actress does not perform well enough, for almost everything that can be remembered of her are but roars and tears with a strong but simple will. Maybe that is fit for the Saint Joan, but not for a farm girl Joan. That makes it the legend of a Saint, instead of a biography of a woman. In this way, the most charming and touching part is lost, because as a Saint she needs no longer to be a female or male and she does not have to show the weakness and struggle of a woman in that era, as what she does perform; while it is exactly this part that the director wants to highlight and that makes Joan different from any other heroes in history. It is a shame that she misses the critical feature of her character.
The only scenes showing her weakness as a girl are two, one of which is when she talks with the general at the day of coronation, mentioning the coming distressful fate and her helplessness and some close feeling on him; the other one is at the commission she makes when she was shocked and frightened by the unimagined death penalty, shortly before she realizes that she will lose freedom forever and denies that. The former one is too soon to express herself like a girl, while the latter one is a little too abrupt to be in accordance with her consistent personality.
Compared with a former Jane Eyre, the director of this drama significantly lacks the sights into the personality and power of woman although she is also a female herself.
As for the other roles, the director arranges different models who represent their own interests for their class in the authority. A friend who is kind but hates to be ignored, a kind priest who is really merciful but limited by the knowledge of identification of Saint by the Church, a serious and hypocritical judge who prefer to maintain the righteousness but in his own opinion, the conspirators who cannot wait to murder her because she threatens the position of the authorities of Church, aristocrats and the lords----none of them would save her from fire although she has given them the triumph and independency, and the proofs of her accompany with God.
For this part, the roles setting is interesting, nonetheless stereotyping. And these stereotyping roles together with the unchangeable scenery make a dull and simple impression on the whole.
However, the questions offered in the drama are great. And those are questions still haunting modern people----that is why the director sets the scenery of a modern style, I think. How can you differentiate a real Saint from a heretic? If you are a Christian, what will you do if one day you face a sister who claims undoubtedly that she is hearing from God directly? Do you really want to meet a Saint as you say one time and another? How should the power of the Church be? Is its unique and exclusive power to judge the righteousness, to declare the order of God, and to identify the Saint? What about the authority of kings, aristocrats and governments? What are their roles supposed to be in aspect of judging, controlling and governing the ordinary Christians? And to what extent they should be obeyed? Although they are not new questions that the director offers for the first time, they are meaningful and thought-provoking.{else}14世纪爆发的英法持续超过百年，法国节节败退，大部分国土都被英国占领了。就在这个时候，珍妮（米拉•乔沃维奇MillaJovovich饰）出生在法国的穷乡僻壤中。年少起，珍妮就经常看到各种幻想。一次，她看到幻想并根据指示找到了一把剑，当她带着剑回到家时发现家里已遭英军蹂躏。珍妮知道是上天安排她来捍卫法国。于是她向当时的皇太子查理（约翰•马尔科维奇JohnMalkovich饰）请求率领一支军队去抗击英军。走投无路的查理答应了珍妮的请求。随后珍妮率领法军节节胜利，查理亦顺利登基。登基后的查理不再需要珍妮帮助，珍妮在以后的一次战斗中陷入困境但无人来救，她被英军捉住并带到了英国审批……©豆瓣{end if}
Too confusing for those who do not believe God, and too simple for those who do.
The leading actress does not perform well enough, for almost everything that can be remembered of her are but roars and tears with a strong but simple will. Maybe that is fit for the Saint Joan, but not for a farm girl Joan. That makes it the legend of a Saint, instead of a biography of a woman. In this way, the most charming and touching part is lost, because as a Saint she needs no longer to be a female or male and she does not have to show the weakness and struggle of a woman in that era, as what she does perform; while it is exactly this part that the director wants to highlight and that makes Joan different from any other heroes in history. It is a shame that she misses the critical feature of her character.
The only scenes showing her weakness as a girl are two, one of which is when she talks with the general at the day of coronation, mentioning the coming distressful fate and her helplessness and some close feeling on him; the other one is at the commission she makes when she was shocked and frightened by the unimagined death penalty, shortly before she realizes that she will lose freedom forever and denies that. The former one is too soon to express herself like a girl, while the latter one is a little too abrupt to be in accordance with her consistent personality.
Compared with a former Jane Eyre, the director of this drama significantly lacks the sights into the personality and power of woman although she is also a female herself.
As for the other roles, the director arranges different models who represent their own interests for their class in the authority. A friend who is kind but hates to be ignored, a kind priest who is really merciful but limited by the knowledge of identification of Saint by the Church, a serious and hypocritical judge who prefer to maintain the righteousness but in his own opinion, the conspirators who cannot wait to murder her because she threatens the position of the authorities of Church, aristocrats and the lords----none of them would save her from fire although she has given them the triumph and independency, and the proofs of her accompany with God.
For this part, the roles setting is interesting, nonetheless stereotyping. And these stereotyping roles together with the unchangeable scenery make a dull and simple impression on the whole.
However, the questions offered in the drama are great. And those are questions still haunting modern people----that is why the director sets the scenery of a modern style, I think. How can you differentiate a real Saint from a heretic? If you are a Christian, what will you do if one day you face a sister who claims undoubtedly that she is hearing from God directly? Do you really want to meet a Saint as you say one time and another? How should the power of the Church be? Is its unique and exclusive power to judge the righteousness, to declare the order of God, and to identify the Saint? What about the authority of kings, aristocrats and governments? What are their roles supposed to be in aspect of judging, controlling and governing the ordinary Christians? And to what extent they should be obeyed? Although they are not new questions that the director offers for the first time, they are meaningful and thought-provoking."<>""}Four stars.
Too confusing for those who do not believe God, and too simple for those who do.
The leading actress does not perform well enough, for almost everything that can be remembered of her are but roars and tears with a strong but simple will. Maybe that is fit for the Saint Joan, but not for a farm girl Joan. That makes it the legend of a Saint, instead of a biography of a woman. In this way, the most charming and touching part is lost, because as a Saint she needs no longer to be a female or male and she does not have to show the weakness and struggle of a woman in that era, as what she does perform; while it is exactly this part that the director wants to highlight and that makes Joan different from any other heroes in history. It is a shame that she misses the critical feature of her character.
The only scenes showing her weakness as a girl are two, one of which is when she talks with the general at the day of coronation, mentioning the coming distressful fate and her helplessness and some close feeling on him; the other one is at the commission she makes when she was shocked and frightened by the unimagined death penalty, shortly before she realizes that she will lose freedom forever and denies that. The former one is too soon to express herself like a girl, while the latter one is a little too abrupt to be in accordance with her consistent personality.
Compared with a former Jane Eyre, the director of this drama significantly lacks the sights into the personality and power of woman although she is also a female herself.
As for the other roles, the director arranges different models who represent their own interests for their class in the authority. A friend who is kind but hates to be ignored, a kind priest who is really merciful but limited by the knowledge of identification of Saint by the Church, a serious and hypocritical judge who prefer to maintain the righteousness but in his own opinion, the conspirators who cannot wait to murder her because she threatens the position of the authorities of Church, aristocrats and the lords----none of them would save her from fire although she has given them the triumph and independency, and the proofs of her accompany with God.
For this part, the roles setting is interesting, nonetheless stereotyping. And these stereotyping roles together with the unchangeable scenery make a dull and simple impression on the whole.
However, the questions offered in the drama are great. And those are questions still haunting modern people----that is why the director sets the scenery of a modern style, I think. How can you differentiate a real Saint from a heretic? If you are a Christian, what will you do if one day you face a sister who claims undoubtedly that she is hearing from God directly? Do you really want to meet a Saint as you say one time and another? How should the power of the Church be? Is its unique and exclusive power to judge the righteousness, to declare the order of God, and to identify the Saint? What about the authority of kings, aristocrats and governments? What are their roles supposed to be in aspect of judging, controlling and governing the ordinary Christians? And to what extent they should be obeyed? Although they are not new questions that the director offers for the first time, they are meaningful and thought-provoking.{else}14世纪爆发的英法持续超过百年，法国节节败退，大部分国土都被英国占领了。就在这个时候，珍妮（米拉•乔沃维奇MillaJovovich饰）出生在法国的穷乡僻壤中。年少起，珍妮就经常看到各种幻想。一次，她看到幻想并根据指示找到了一把剑，当她带着剑回到家时发现家里已遭英军蹂躏。珍妮知道是上天安排她来捍卫法国。于是她向当时的皇太子查理（约翰•马尔科维奇JohnMalkovich饰）请求率领一支军队去抗击英军。走投无路的查理答应了珍妮的请求。随后珍妮率领法军节节胜利，查理亦顺利登基。登基后的查理不再需要珍妮帮助，珍妮在以后的一次战斗中陷入困境但无人来救，她被英军捉住并带到了英国审批……©豆瓣{end if}
