Joan of Arc (1948)

Joan of Arc (1948) was a passion project for both its star Ingrid Bergman and its producer Walter Wanger. Directed by Victor Fleming (of Gone with the Wind and The Wizard of Oz fame), the film was a grand, Technicolor retelling of the life and martyrdom of France’s iconic heroine. Based on the play Joan of Lorraine by Maxwell Anderson, the film was both an earnest historical drama and a cinematic showcase for Bergman, who had long wanted to portray the Maid of Orléans on screen.

Despite high ambitions, lush production values, and a committed central performance, Joan of Arc received mixed critical reception and a complicated legacy. Still, it remains a visually striking, emotionally powerful depiction of one of history’s most remarkable figures.

Plot Summary

The film chronicles the brief but extraordinary life of Joan of Arc (Ingrid Bergman), a devout peasant girl from Domrémy, who, believing herself chosen by God to save France, persuades local nobles to grant her an audience with the Dauphin (José Ferrer), the disinherited heir to the French throne. After convincing him of her divine mission, Joan is given command of French troops and leads them to victory at the siege of Orléans.

Her rise from obscurity to military leadership is swift and miraculous, but it also attracts suspicion and jealousy from the political and religious elite. When she is eventually captured by the Burgundians and sold to the English, Joan is subjected to a trial for heresy led by a politically motivated Inquisition. The film culminates in her infamous condemnation and execution by burning in 1431, at the age of 19.

Ingrid Bergman’s Performance

At the heart of Joan of Arc is Ingrid Bergman, who delivers a powerful, impassioned performance. At 33, Bergman was older than the historical Joan, but she compensates with emotional intensity and spiritual fervor. She conveys both the innocence and unshakable conviction of the character, portraying Joan as a visionary driven by divine certainty but also as a young woman navigating a world of cynical politics and patriarchal authority.

Bergman’s physicality—her upright posture, unwavering gaze, and voice that trembles with righteous zeal—grounds the film’s religious themes in a deeply human performance. Her Joan is not simply a saintly icon but a woman whose strength comes from belief, even in the face of betrayal, ridicule, and death.

Although the film itself received mixed reviews, Bergman's performance was widely praised and earned her a Golden Globe Award for Best Actress in a Motion Picture – Drama.

Direction and Production

Victor Fleming, directing what would be his final film, brings an old-Hollywood grandeur to the production. The battle scenes are impressively mounted, particularly the siege of Orléans, with sweeping camera movements, vast sets, and dynamic staging. Yet, for all its visual splendor, the film often struggles with tone and pacing, moving from stirring military spectacle to intense theological debate.

The screenplay, adapted from Anderson’s play, retains much of the formal, rhetorical style of stage dialogue, which lends the film a certain gravitas but also a stiffness. At times, the film feels like a reverent pageant rather than a character-driven drama. That said, Fleming does succeed in creating a solemn, sacred atmosphere befitting the story’s religious significance.

The production design by Richard Day and costume design by Barbara Karinska (both Oscar-nominated) capture the medieval setting with meticulous detail. The film’s use of Technicolor is particularly noteworthy—it lends an almost otherworldly richness to the visuals, especially in the vibrant reds and golds of royal and ecclesiastical robes.

Supporting Cast

José Ferrer makes his film debut as the Dauphin, Charles VII. He gives a complex portrayal—initially weak and indecisive, he is gradually emboldened by Joan’s example, only to later abandon her to political expediency. Ferrer’s performance was nominated for an Academy Award for Best Supporting Actor.

Francis L. Sullivan and J. Carrol Naish stand out as the scheming Bishop Cauchon and inquisitor John Lemaitre, respectively. They provide the film’s antagonistic weight, representing the institutional forces that ultimately destroy Joan.

Ward Bond, Gene Lockhart, and Shepperd Strudwick appear as French nobles and clerics, adding depth and color to the ensemble. While many of the supporting performances are solid, they serve mainly to highlight Bergman’s centrality.

Themes and Interpretation

The film presents Joan not only as a national savior but as a martyr in the mold of a saint—though she was not canonized by the Catholic Church until 1920. The script leans heavily into her spiritual visions and moral purity, reinforcing her as a symbol of divine mission rather than delving into the psychological ambiguity that more modern interpretations (like Carl Theodor Dreyer’s The Passion of Joan of Arc or Luc Besson’s The Messenger) explore.

There is a deep current of tragedy in the film—the injustice of Joan’s trial, the cowardice of those she served, and the contrast between her idealism and the corruption of power. The narrative, while reverential, occasionally flirts with ambiguity: is Joan divinely inspired, mentally unstable, or both? The film ultimately resolves this in favor of sanctity, but not without moments that invite deeper reflection.

Reception and Legacy

Upon release, Joan of Arc was met with mixed critical reviews. Some praised the spectacle and Bergman’s luminous performance, while others found the film too long, too solemn, and lacking in emotional complexity. It was not a box office success, which contributed to its limited impact compared to other epics of the time.

Nonetheless, the film received seven Academy Award nominations, including:

Best Actress (Ingrid Bergman)

Best Supporting Actor (José Ferrer)

Best Art Direction

Best Cinematography

Best Costume Design

Best Editing

Best Score

It won two Oscars:

Best Cinematography (Color)

Best Costume Design (Color)

For years, the original 145-minute version was lost, and only a 100-minute re-edited version circulated. In the 1990s, a restored version using original materials was released to much interest from classic film aficionados, giving audiences the opportunity to reassess the film’s full scope.

Final Thoughts

Joan of Arc (1948) is a film of grandeur, reverence, and earnest conviction. It may not be the most psychologically probing or narratively daring version of Joan’s story, but it is a stately, passionate tribute to one of history’s most enduring figures. Ingrid Bergman’s powerful performance is reason enough to revisit this film—it is one of her most committed and heartfelt roles.

While modern audiences might find its approach dated and its dialogue overly formal, the film remains a valuable artifact of postwar Hollywood’s attempt to grapple with faith, heroism, and historical memory. It is a portrait of Joan as a symbol of courage, and of Ingrid Bergman at the height of her dramatic power.

Final Verdict:

A richly produced, reverent historical drama elevated by Ingrid Bergman’s luminous performance. Joan of Arc may lack narrative dynamism, but it remains a moving, visually impressive tribute to a woman who defied kings and shaped history.