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Joan of Arc

Joan of Arc

Drama · History · 1948

In the 15th Century, France is a defeated and ruined nation after the One Hundred Years War against England. The fourteen-year-old farm girl Joan of Arc claims to hear voices from Heaven asking her to lead God's Army against Orleans and crowning the weak Dauphin Charles VII as King of France. Joan gathers the people with her faith, forms an army, and conquers Orleans.

Movie details

Joan of Arc

“Greatest of all spectacles!”

1948 Drama · History 2h 25m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

In the 15th Century, France is a defeated and ruined nation after the One Hundred Years War against England. The fourteen-year-old farm girl Joan of Arc claims to hear voices from Heaven asking her to lead God's Army against Orleans and crowning the weak Dauphin Charles VII as King of France. Joan gathers the people with her faith, forms an army, and conquers Orleans.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Joan of Arc?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Victor Fleming

Written by

Maxwell Anderson · Andrew Solt

Ingrid Bergman

Ingrid Bergman

Joan of Arc

Francis L. Sullivan

Francis L. Sullivan

Pierre Cauchon, Count-Bishop of Beauvais

J. Carrol Naish

J. Carrol Naish

John, Count of Luxembourg, Joan's Captor

Ward Bond

Ward Bond

La Hire

Shepperd Strudwick

Shepperd Strudwick

Father Massieu, Joan's Bailiff

Gene Lockhart

Gene Lockhart

Georges de la Trémouille, the King's Chief Counsellor

John Emery

John Emery

Jean, Duke d'Alencon, cousin of Charles

Court is in session

Put Joan of Arc on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.