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There could not be a Travis Bickle without this country priest.
It’s also easy to imagine it was an influence on Haneke’s is one of the most exciting screen adventures you could watch. He could make you sit bolt upright in your seat, unable to take your eyes from the screen.
It’s below their standing to get involved in such things.
And we are aware, as the camera tracks through the great halls and along the polished floors of the chateau, that this aristocracy has had its day; World War Two is upon them, and everything will change.
Carl Theodor Dreyer’s film concentrates entirely on the trial for heresy that sent Joan to the stake.
This is about accusations and guilt, and how far faith can be tested. The nakedness of expression is moving, and Maria Falconetti is an amazing Joan of Arc, with wide eyes, brimming with despair or blazing with religious conviction.
It’s a grimy, frightening, gut-wrenching experience – but you wouldn’t want to miss a moment of it.
intersperses black and white footage recovered from allied forces with colour shots taken in the remains of Nazi concentration camps on Polish soil.
The girl develops a crush on one of the headmistresses, and unwittingly puts herself between them, leading to jealousy and rage.
There’s a dispassionate monologue – the internal voice of the priest – that informs us how he feels, what he wants, as his expression gives away nothing.
Scorsese uses the same style in the film that gives us another tortured soul, this time without the comfort of faith.
This makes the outbursts of the jealous headmistress ugly and difficult to watch.
has a cult following, I think because it deals with lesbianism in a very direct and non-voyeuristic way.