Messenger: The Story of Joan of Arc, The (1999)

reviewed by
Bryant Frazer


 
       THE MESSENGER: THE STORY OF JOAN OF ARC
       --------------------------------------------------------------
                                                           GRADE: C-
       I guess that, sooner or later, someone had to reinvent Joan
       of Arc for the multiplex. Kathryn Bigelow (Strange Days)
       reportedly wanted the assignment, and planned to cast Claire
       Danes. It's hard to tell what that movie would have looked
       like, but it couldn't have been much more of a disappointment
       than what Luc Besson did with it.

Don't get me wrong -- I tend to appreciate Besson's naive, unashamedly romantic worldview, an artsy European sensibility gone thoroughly Hollywood. His 1994 Leon is exciting and absurdly moving, thanks mainly to the interplay between Jean Reno and a young Natalie Portman, and 1997's The Fifth Element is a goofy paean to love, L-U-V, that's even more of a hoot on repeated viewings. But his Joan of Arc is a mess, despite some stirring battle scenes and the mostly knockout presence of a close-cropped Milla Jovovich as the maiden herself.

Jovovich, Besson's own personal muse through the making of his last two films (though they've since separated), is magnetic and energetic enough to play a credible Joan (as long as you believe Joan was not just a warrior, but also a fabulous, supermodel-level babe). And Besson remains a servicable action film director, though not an especially facile one. Leading her army against the seemingly impenetrable fortresses of the English, Joan's struggle against great odds is undeniably stirring, and Besson helps you understand how the French could believe, fervently, that God is on her side.

Besson's big mistake, I think, is trying to dramatize the interior life of his subject. Yes, Joan had visions -- but I guarantee that whatever image a sympathetic audience conjures in its collective mind will be more compelling than the blue-eyed Christ figure on display in Besson's hallucinatory dream sequences. The whole conceit turns into a disaster right about the time Dustin Hoffman (billed as "The Conscience") shows up, spouting platitudes and sending poor Milla running around her cell, babbling like Ally McBeal. That's kind of a shame, since she does quite well up to that point, charging into battle with a banshee wail that suggests the eruption of a sublimated bloodthirstiness. That darkly attractive aspect of her character -- that she's as likely a charismatic madwoman as the vessel of the lord -- is more or less betrayed by the final reels, in which The Conscience browbeats her over the killing she's overseen and Joan starts to look like little more than a very confused young lady who's about to take a fall.

       As the story winds down, with Joan condemned to a horrible
       death by fire, Besson is aiming for tragedy and psychological
       significance. Trouble is, he's chosen a lurid, often jokey
       tone for the balance of the picture -- including some blithe
       cgi bloodshed in the battle scenes -- and it's impossible to
       shake the feeling that this particular vision of the middle
       ages is, to a great extent, nothing more than a put-on. This
       glib, pre-fab version of such a great story makes me all the
       more grateful for Dreyer's The Passion of Joan of Arc (1928),
       a film whose dialogue is drawn from the actual transcripts of
       Joan's trial, and which stands as one of the most harrowing
       experiences in all of cinema. Compared to that film, The
       Messenger plays as a crime against history.
       --------------------------------------------------------------
       Directed by Luc Besson
       Written by Besson and Andrew Birkin
       Cinematography by Thierry Arbogast
       Music by Eric Serra
       Starring Milla Jovovich
       France/USA, 1999

Theatrical aspect ratio: 2.35:1 --------------------------------------------------------------

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