Despite being a big fan of French New Wave, the name Jacques Rivette has been an intimidating one to approach. He’s not nearly as acclaimed as Truffaut, Godard, Varda, or Demy which may be in terms of volume that’s been in larger conversation, but it’s also because to approach his greatest work is to be met with certain intimidation. I’ve long found the threshold of films I’d call “long” in ways sort of pejorative to be around 135 minutes. To me, that’s when a night goes from cozy to needing to plan everything around it. Looking at Rivette’s body of work, it’s safe to say that he often transcends “long” and ventures into “TOO long” even as I openly admit that Celine and Julie Go Boating (1974) is one of the hallmarks of French cinema. It’s great, but when you realize there are films even longer than its three-plus hour running time, you’ll want to give up before you start.
The irony is then not lost on me when I impulsively chose to watch the duology that is Joan the Maid (1994). Given that they collectively make up 5.6 hours, there’s not a lot of accessibility for the cozy evening crowd. And yet, I was intrigued for multiple reasons, notably that Rivette is a filmmaker that I adore every time I press play.
It’s also that Joan of Arc as a figure is rather anomalous to this American. Outside of the masterpieces by Dreyer and Bresson, I haven’t taken the time to fully engage with her story. She was a woman who was on a mission from God to lead the French to victory over English powers. Some part of me was convinced that there had to be more to the story, and it perplexed me enough to press play and begin my journey into an epic that took me by surprise. Despite being split into chapters called “The Battles” and “The Prisons,” it would be facetious to say that these halves are grounded in one topic for long. In fact, Joan’s experience performing in battles is reduced to a highlight reel that could be summarized in 20ish minutes.
Part of me was taken aback by Rivette’s choice not to emphasize the grandeur of the genre. Maybe it comes from watching films like The Patriot (2000) which recontextualize American history with modern Hollywood production, but I assumed Rivette would artfully capture the play-by-play of her time on the battlefield, where we see the carnage alongside the more mythic moments. To be fair, there are a few of those, but not to the extent of an overproduced beauty that makes the bloodlust almost fetishistic. While Rivette does take some time to portray England as being full of arrogant snobs, this is more of a vulnerable story that strips away the valor and instead asks the viewer to consider the humanity underneath the armor.
I start with this to say that it’s one of the least attractive takes on Joan of Arc (or, as she’s referred to here, “Jeanne the Maid”) that I’ve seen. Whereas Bresson emphasizes her mental illness and Dreyer captures the emotional turmoil that comes with being judged by an entire nation, Rivette is more interested in understanding Joan as a three-dimensional person. Most of his films inspire the audience to differentiate reality from fantasy. He’s one of the most visually inspired French directors that I’ve seen, and I was curious to see how he would turn history into this cryptic nesting doll that reveals itself the more that one engages with it.
For me personally, Joan the Maid was a very playful film. While the exterior may appear droll and even boring, there was something about being forced to live in the minutiae and really question why Joan was eager to perform her quest. This isn’t a story meant to mock but, instead, give her a chance to state her argument. Whereas the trial may have the bulk of what’s interesting about her story, watching her learn combat brings a recognition of being human. Rivette has so many details that comment on the role of women in 15th-century France that reflects her deviance. On some level, I’m still not sure why anyone went along with her plan. She is still part of the patriarchy and serves a Dauphin, and yet she’s allowed to march forward with far less scrutiny than Mulan (1998). Then again, her queering of gender roles becomes her downfall by the end – which is a turn that I personally didn’t see coming.
Joan’s contrast of being part of reality while having conversations with spiritual forces is a nice Rivette touch. While he never allows for voice-overs to confirm that these aspects are real, actress Sandrine Bonnaire gives her enough conviction to make one believe that every prayer is guiding her to a greater goal. Her servitude to God comes across as more crucial than reliance on any visible character. At odd points, she’s even seen wandering among fellow soldiers demanding them to stop goofing off and stay ever-ready for battle. Even as her health wanes, the dedication is impeccable and makes the end of Part I so pleasing. She has overcome so much for a small taste of victory. For as humorous as the final scene of Part I is, it’s also the recognition that she’s mortal, capable of weaknesses alongside her overarching goal to be something greater.
Another aspect of Joan the Maid’s framing that I came to love as the story progressed was the incorporation of additional commentary. In a traditional drama, these standalone monologues would seem out of place. They are presenting information instead of showing things. I’m aware that this would stretch the film past its already exhaustive 5.6 hours, but the scenes described are what I assumed Joan the Maid would center around. It’s about the adventures that other directors would give sweeping vista shots. Instead, they’re reduced to these small exchanges that seem isolated from ongoing events.
The reason I love them is not because they fast-forward the plot, but more because of the implications that Rivette is toying with. Every viewer already has their assumptions about Joan and whether she is conversing with higher callings. While most of the film centers around her perspective, these “interviews” feel more reminiscent of older documentary techniques. Even in a film that lacks glamourous set pieces, it helps to demystify Joan’s journey by reflecting that there’s other people who toiled alongside her. Joan’s impenetrable commentary on her failures allows for these interviews to add dimension. Also, it reflects something more akin to what the audience can relate to, which is an observation of the larger myth. Most of us will never be in Joan’s position, so the best we can hope for is to know the mortal conditions of those removed from history, who aren’t given a chance to be valorized simply because her story was more compelling.
To be clear, I’m unsure how much of what Rivette emphasizes is true to history. I am not aware if this accurately reflects her relationship with her family. My assumption is that written documentation was much more limited so liberties were taken. However, that doesn’t mean I wasn’t enjoying the chance to watch Joan simply exist. Part I is especially revelatory for how it allows her to exist alongside her male soldiers and form a deeper bond. There is one scene where inexperienced soldiers are playing some variation of “capture the flag” while the leaders watch on in bemusement, even taking bets and yelling at them. It’s a small moment, but one that reflects a world outside of what we assume. Most of all, it confirms that these are real people who have desires outside of conquering forces.
What it lacks in being the most artful take on Joan of Arc, it more than makes up for by zooming into smaller events with a desire to understand how environment plays into one’s motivations. For as much as Joan the Maid explores the highlights that even casual audiences know, there is something to seeing more secular details get expanded upon. It is endearing to watch her learn to sign her name. There’s even something thrilling about watching her meander in the woods with colleagues while complaining about their foes. This is a world so full of detail that has nothing to do with God. It’s as much about survival and conquest as it is finding one’s purpose in life. You’re allowed to question if Joan was ultimately right, but Rivette understands that the greater appeal is the mystery of following one’s own arrow at the expense of punishment.
Most of all, I reached the end and felt the familiar sensation I get when watching Rivette. He might be one of my favorite filmmakers… if only I had enough time to watch a bunch of four-hour movies. He has a gift for exploring the dizzying middle ground where life is most interesting. It’s the place where everything feels dreamlike and lacks enough cohesiveness to be accepted as truth. It’s the place where we need to develop the most faith in order to survive. While I don’t consider his larger body of work “spiritual,” I think there is something to giving oneself over to his technique and accepting the interpretive aura that is ultimately attractive. Who knows if this will be what it takes to get me to do a deep dive into his other films. For what it’s worth, I don’t think many of them are longer than Joan the Maid, so the hard part’s over.
Comments
Post a Comment