Saint Joan of Arc | |
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Venerated in | Roman Catholic Church Anglican Communion |
Beatified | 18 April 1909, St. Peter's Basilica by Pope Pius X |
Canonized | 16 May 1920, St. Peter's Basilica by Pope Benedict XV |
Feast | 30 May |
The Messenger: The Story of Joan of Arc (French: Jeanne d'Arc) is a 1999 French epic historical drama film directed by Luc Besson. The film stars Milla Jovovich, John Malkovich, Faye Dunaway and Dustin Hoffman. The screenplay was written by Besson and Andrew Birkin, and the original music score was composed by Éric Serra.
The Messenger portrays the story of St. Joan of Arc, the French war heroine and religious martyr of the 15th century. The story begins with young Joan as she witnesses the atrocities of the English against her family, and she is portrayed as having visions that inspire her to lead the French in battle against the occupying English forces. Her success in routing the English allows Charles VII to take the throne. Eventually Joan is captured by the English, tried and executed for heresy.
Besson's previous film, The Fifth Element, which also starred Jovovich, was a critical and financial success, and it had a positive influence on both their careers. The Messenger was intended to follow up that success and cement the status of Besson and Jovovich in film.[5] However, the film received mixed reviews from critics and underperformed at the box office,[6] earning just under $67 million on a $60 million budget.
As a child, Joan has a violent and supernatural vision. She returns home to find her village burning. Her sister Catherine tries to protect her by hiding her from the attacking English forces, part of a longstanding rivalry with France. Joan, while hiding, witnesses the brutal murder and rape of her sister. Afterward, Joan is taken in by distant relatives.
Several years later at Chinon, the Dauphin and soon to be King of France, Charles VII (John Malkovich), receives a message from the now adult Joan (Milla Jovovich), asking him to provide an army to lead into battle against the occupying English. After meeting him and his mother-in-law Yolande of Aragon (Faye Dunaway) she describes her visions. Desperate, he believes her prophecy.
Clad in armor, Joan leads the French army to the besieged city of Orléans. She gives the English a chance to surrender, which they refuse. The armies' commanders, skeptical of Joan's leadership, initiate the next morning's battle to take over the stockade at St. Loup without her. By the time she arrives on the battlefield, the French soldiers are retreating. Joan ends the retreat and leads another charge, successfully capturing the fort. They proceed to the enemy stronghold called the "Tourelles". Joan gives the English another chance to surrender, but they refuse. Joan leads the French soldiers to attack the Tourelles, though the English defenders inflict heavy casualties, also severely wounding Joan. Nevertheless, Joan leads a second attack the following day. As the English army regroups, the French army moves to face them across an open field. Joan rides alone toward the English and offers them a final chance to surrender and return to England. The English accept her offer and retreat.
Joan returns to Rheims to witness the coronation of Charles VII of France. Her military campaigns then continue to the walls of Paris, though she does not receive her requested reinforcements, and the siege is a failure. Joan tells King Charles VII to give her another army, but he refuses, saying he now prefers diplomacy over warfare. Believing she threatens his position and will require expenditure of treasure, Charles conspires to get rid of Joan by allowing her to be captured by enemy forces. She is taken prisoner by the pro-English Burgundians at Compiègne, who sell her to the English.
Charged with the crime of heresy, based on her claim of visions and signs from God, she is tried in an ecclesiastical court proceeding, which is forced by the English occupation government. The English wish to quickly condemn and execute Joan since English soldiers are afraid to fight while she remains alive, based on their belief that she could supernaturally affect battles even while in prison. Bishop Cauchon expresses his fear of wrongfully executing someone who might have received visions from God. About to be burned for heresy, Joan is distraught that she will be executed without making a final confession. The Bishop tells her she must recant her visions before he can hear her confession. Joan signs the recantation. The relieved Bishop shows the paper to the English, saying that Joan can no longer be burned as a heretic. Whilst in her cell, Joan is confronted by an unnamed cloaked man (Dustin Hoffman), who is implied to be Joan's conscience. The man makes Joan question whether she was actually receiving messages from God.
The frustrated English devise another way to have Joan executed by the church. English soldiers go into Joan's cell room, rip her clothes and give her men's clothing to wear. They then state she conjured a spell to make the new clothing appear, suggesting that she is a witch who must be burned. Although suspecting the English are lying, the Bishop abandons Joan to her fate, and she is burned alive in the marketplace of Rouen, though a postscript adds that she was canonized as a saint in the 20th century.
Luc Besson stated that he was not interested in narrating the history of Joan of Arc; rather, he wanted to pull a message out of history that is relevant for today. Besson states that in order to achieve this he stepped away from the factual narrative of the 15th century, instead trying to get behind the "exterior envelope" and into both the emotional effect and affect of Joan. In the book The Films of Luc Besson, Susan Hayward interprets this as meaning Besson sought to follow Joan emotionally, revealing her doubts and demonstrating that one cannot return intact from the experience of war.[7]
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