Joan the Woman

Plot

The film opens during World War I with English officer Eric Trent (Wallace Reid) preparing for a dangerous mission on the Western Front. The night before his assignment, he reads about Joan of Arc and experiences a vivid vision that transports him back to 15th century France. Through this supernatural framing device, the audience witnesses Joan's complete story arc: from her divine calling as a young peasant girl to lead the French army, through her military victories including the lifting of the Siege of Orléans, to her ultimate betrayal, trial for heresy, and martyrdom at the stake. The narrative explores Joan's unwavering faith, her complex relationship with the Dauphin Charles VII, and the political intrigue that ultimately leads to her downfall. The film returns to the WWI setting where Trent, inspired by Joan's courage and sacrifice, leads his troops to victory in battle. The dual timeline structure emphasizes the timeless nature of heroism and sacrifice across centuries.

Historical Background

The film was produced and released during the height of World War I, a time when America was still neutral but increasingly involved in the conflict. The contemporary framing device connecting Joan of Arc's medieval struggles to the ongoing war was particularly resonant with audiences of 1916. The film tapped into contemporary themes of patriotism, sacrifice, and spiritual devotion that were relevant to the war effort. Joan's story of a young woman leading a nation in crisis paralleled the emerging role of women in wartime societies. The film's release on Christmas Day 1916 was strategic, aiming to provide audiences with inspiration and moral clarity during uncertain times. The production also reflected the growing sophistication of American cinema, which was beginning to challenge European films in terms of artistic ambition and technical achievement. The film's anti-British elements (portraying the English as Joan's oppressors) were somewhat toned down for American audiences, who were increasingly sympathetic to the British cause in WWI.

Making Of

The production of 'Joan the Woman' marked a turning point in Cecil B. DeMille's career, establishing him as a master of the historical epic. DeMille was obsessed with authenticity, hiring historical consultants and creating detailed scale models of medieval fortresses. The casting of Geraldine Farrar was a major coup for Paramount, as she was considered one of the most beautiful and famous women in America. Her opera background made the transition to silent film challenging, as she had to learn to express emotion without her powerful voice. The battle sequences were filmed over several weeks with hundreds of extras, many of whom were actual soldiers who had returned from WWI. The famous burning scene was particularly dangerous, with Farrar wearing a special asbestos suit and standing on a platform surrounded by controlled flames. The film's use of color tinting was revolutionary, with DeMille personally supervising the hand-tinting of each print. The production ran over budget and schedule due to DeMille's perfectionism and the complexity of the medieval sets, but the studio's investment paid off handsomely at the box office.

Visual Style

The cinematography by Alvin Wyckoff was groundbreaking for its time, featuring innovative camera movements and lighting techniques. The film used multiple camera setups for the battle sequences, creating a sense of scale and action that was unprecedented. Wyckoff employed dramatic lighting to emphasize Joan's spiritual nature, often using backlighting to create a halo effect around Farrar. The color tinting process was particularly sophisticated, with different scenes tinted to match the emotional tone: amber for warm, domestic scenes; blue for night scenes and moments of spiritual contemplation; and red for scenes of violence and passion. The camera work in the burning scene was especially notable, using multiple angles and perspectives to create maximum dramatic impact. The film also featured some of the earliest examples of the dolly shot, with the camera moving to follow the action rather than remaining static.

Innovations

The film featured several technical innovations that were groundbreaking for 1916. The use of the Handschiegl color process for selective color tinting was one of the earliest applications of this technique in a feature film. The battle sequences employed innovative techniques including the use of multiple cameras to capture action from different angles, creating a more dynamic viewing experience. The film's production design included some of the most elaborate and historically accurate sets constructed up to that time. The special effects used in the burning at the stake scene combined practical effects with camera tricks to create a convincing illusion of danger without actually endangering the star. The film also featured innovative makeup techniques to age characters convincingly throughout the story. The use of double exposure for the vision sequences was technically sophisticated for the period.

Music

As a silent film, 'Joan the Woman' was accompanied by live musical performances in theaters. The original score was composed by William Furst, who created a full orchestral score with specific musical themes for different characters and situations. The score incorporated elements of medieval music and French folk melodies to enhance the historical setting. Many theaters augmented the score with organ music or even small orchestras. For the contemporary WWI scenes, Furst used more modern musical motifs to distinguish them from the medieval sequences. The music was particularly important during the silent prayer scenes and the final burning sequence, where the score had to carry the emotional weight of the narrative. Some theaters even hired singers to perform appropriate songs during specific scenes, particularly during Joan's moments of spiritual revelation.

Memorable Scenes

• The opening sequence where the WWI officer experiences the vision of Joan of Arc, featuring innovative double exposure techniques
• The coronation scene where Joan witnesses Charles VII being crowned king, with elaborate period costumes and massive crowd scenes
• The Battle of Orléans sequence, featuring hundreds of extras, real artillery, and innovative camera work for the action scenes
• Joan's trial scene, with dramatic lighting and intense emotional performances from the cast
• The burning at the stake finale, using special effects and color tinting to create a powerful and emotional conclusion
• The scene where Joan first hears her divine calling, featuring spiritual lighting and Farrar's expressive performance
• The return to the WWI setting where the officer leads his troops to victory, paralleling Joan's own military leadership

What Critics Said

Contemporary critics praised the film's ambition and spectacle, with Variety calling it 'a masterpiece of the motion picture art' and The New York Times declaring it 'the finest historical drama yet produced in America'. Critics particularly praised Geraldine Farrar's performance, noting her ability to convey emotion through gesture and expression despite her lack of film experience. The battle sequences were hailed as revolutionary for their realism and scale. Some critics, however, found the film's length excessive and criticized the historical liberties taken with Joan's story. Modern critics recognize the film as a landmark in early cinema, though they note its melodramatic style and historical inaccuracies. The film is now appreciated for its technical achievements and its role in establishing the historical epic genre. Retrospective analyses have focused on the film's use of color and its innovative narrative structure.

What Audiences Thought

The film was a tremendous commercial success, playing to sold-out houses across America for months. Audiences were particularly moved by Farrar's performance and the spectacular battle scenes. The film's patriotic themes resonated strongly with audiences during the WWI era, and many viewers reported being deeply affected by the connection between Joan's story and contemporary events. The film's length was not a deterrent; in fact, many theaters offered special dinner-and-a-movie packages for the epic presentation. Audience members frequently returned for multiple viewings, a rarity for the time. The film's success made Farrar one of the highest-paid actresses in Hollywood and cemented DeMille's reputation as a director of important, prestigious films. Contemporary newspaper accounts describe audiences weeping during the burning scene and applauding enthusiastically at the film's conclusion.

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