Maria Falconetti

Renée Jeanne Falconetti (July 21, 1892 – December 12, 1946), sometimes credited as Maria Falconetti,Marie Falconetti,Renée Maria Falconetti, or, simply, Falconetti, was a French stage and film actress, notable for her role as Joan of Arc in Carl Theodor Dreyer's 1928 silent film, La Passion de Jeanne d'Arc.

Born in Pantin, Seine-Saint-Denis, Falconetti became a stage actress in Paris in 1918. By the time Dreyer watched her act in an amateur theater and selected her as his leading lady in his upcoming production La Passion de Jeanne d'Arc, she was already a celebrated stage artiste, and had appeared in one film, La Comtesse de Somerive (1917), directed by Georges Denola and Jean Kemm. Falconetti was 35 years old when she played the role of 19-year-old Joan of Arc in La Passion. Her portrayal is widely considered one of the most astonishing performances ever committed to film, and it would remain her final cinematic role.

Many writers have claimed that Falconetti's performance was the result of extreme cruelty at the hands of Dreyer, a notoriously demanding director who pushed her to the brink of emotional collapse. For example, film critic Roger Ebert writes,

For Falconetti, the performance was an ordeal. Legends from the set tell of Dreyer forcing her to kneel painfully on stone and then wipe all expression from her face – so that the viewer would read suppressed or inner pain. He filmed the same shots again and again, hoping that in the editing room he could find exactly the right nuance in her facial expression.

However, in their biography of Dreyer, Jean and Dale Drum say that these stories are based only on rumour and that "there is no evidence that Dreyer could be called a sadist". They quote onlookers who described Dreyer's working relationship with Falconetti: initially in the production process, "Dreyer and Falconetti would watch the rushes of a single scene together, seven or eight times, until Dreyer could pick out a little bit, maybe a few feet, where the effect was what they wanted, and when they reshot the scene, she could play it without the least inhibition. Just those few feet of film had inspired her." Later, Falconetti became able to play scenes only from Dreyer's explanations, without the need even for rehearsal.

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