The Silence of Joan

In May, Philippe Ramos' The Silence of Joan was unjustifiably ignored/panned at the Cannes Film Festival. Perhaps American critics were hoping for a more conventional 'biopic' of this much-told tale. Maybe they were disconcerted by the unconventional structure - replete with multiple voice-over narrators. Whatever the reason, the press labelled the film as pointless and technically inept. In reality, The Silence of Joan is neither: rather, Ramos' film is an impressively thoughtful depiction of faith, offering an original, multi-tier interpretation of Joan's sacrifice and legacy. 

Unlike such bloated versions as Luc Besson's The Messenger, Ramos' film has a delicate and specific structure, focusing on the importance of the theme of 'rebirth' on Joan and the other significant characters in her life. Gone are the most iconic moments of her life, including her childhood encounter with the voice of God, her meetings with the Dauphin of France, her leading of the French army into battle etc. (Her fiery death is incorporated, but it is given a very different representation than in other versions). Instead, writer-director Ramos focuses on Joan's imprisonment, and gives dimension to not only her but also her various supporters and guards in this time: these characters include a kindly medicine-man (Thiérry Fremont), a surprisingly thoughtful British soldier (Liam Cunningham), a generous monk (Jean-François Stévenin) and a zealous cleric (Mathieu Amalric).    

Enhancing the story's claustrophobic intensity, Ramos - who also doubles, Soderbergh-style, as cinematographer - frames the characters in a series of close-ups and tight mid shots. Whereas other directors may have been tempted to include a variety of establishing shots to reiterate the film's setting, Ramos is much more confident in his approach. His choices allow us to focus on Joan and the way that she responds to her imprisoned environment, and on the other characters' reactions to this significant figure in French/Christian history. It is a beautiful choice that satisfies on a practical and creative level: not only do the producers save money on extras and sets, but it also allows the filmmakers to create a sustained feeling of intimacy with these characters (in particularly, a later battle sequence is unexpectedly tense for its almost-entire representation through close up).    

Despite the potential for monotony, The Silence of Joan is never visually repetitive or clumsy. This is primarily for two reasons: firstly, the filmmakers are technically proficient, deploying beautiful editing choices, excellent costume and production design and apt locations. Secondly, long shots are used sporadically, but appropriately. Later, Cunningham's English Captain brings Joan to a beach so that she can witness an ocean for the first time in her life. Ramos captures the spectacle of this setting, fully justifying Joan's renewed resolve of her faith in the Lord for the final act.

Clémence Poésy - the French actress who has caught the eye of both Hollywood and European filmmakers (Harry Potter and the Deathly Hallows, In Bruges, 127 Hours) - is an excellent choice for Joan. In Ramos' screenplay, Joan rarely interacts on a verbal level with the other characters, expressing herself in prayer in introspective narration. Consequentially, Poesy needs to suggest the martyr's conflicting emotions - fear, vulnerability, possible temptation - through a veneer of strength and poise. In this difficult role, Poesy gives a fully felt performance, layering the dual-nature of her character with convincing humanity.

The other actors are also up to the task, with Cunningham, Stévenin and Amalric giving moving, intelligent performances in challenging roles. Fremont (Femme Fatale), though, is particularly fine. As the healer, he is required to convince a stalwart Joan to begin eating and drinking again. Fremont approaches these scenes with restraint and vulnerability (the medicine-man tells Joan "To me, you are an open book"), convincing as a man approachable and kindly enough to persuade her to not give up on life. 

With themes of faith, honour, betrayal and nationalism, the Joan of Arc legend is a perpetually contemporary story. Ramos offers a new and successful interpretation of Joan's journey, giving dimension and texture to the characters affected by her experiences.