clanciai This was Zeffirelli's first film after his successful rendering of "Romeo and Juliet" on location in Verona in a very expressionistic and emotional interpretation, and the same poetry and beauty favorably dominates this very sensitive and personal view of the person of St. Francis and how he started, including all his conflicts, above all with his father. The story is not entirely truthful, though. The emperor at the time was no Otto but the controversial Frederick II, and the pope that established the Franciscan order was not the great Innocent III, Frederick II:s tutor and guardian, but Honorius III, his successor, who also established the Dominican order and the Inquisition. Just like Visconti, Zeffirelli is above all an accomplished director of operas if not the best, and in later years he has only devoted himself to operas. This however qualified him more than well enough to also make accomplished films, which all are outstanding in every aspect of quality, especially pictorially and musically. It was a wonderfully pleasant surprise to hear Donovan, of all people, to sing the songs of St. Francis with his mellow and very sympathetic voice (as opposite to the harsh croaking of Bob Dylan), and he has actually written the music here matching the Franciscan spirit perfectly. Graham Faulkner as Francis couldn't be better, while there have been many films made on this story which no film can fail with. The all-Italian "Francesco - giullare di dio", ("Francis, God's clown") by Roberto Rossellini (1950) was perhaps more genuine and charming in its authentic innocence, trying to get through to the real Francis as closely as possible, but Zeffirelli's masterpiece remains thorough as such with impressing scenery all through, from Tuscany, San Gimignano and an impressing finale filmed in the wondrous cathedral of Monreale outside Palermo in Sicily. Alec Guinness was a catholic himself and is very convincing as the pope being almost converted by the barefoot saint. "Romeo and Juliet" was a triumph, but the question is if not his film of St. Francis, although less ambitious, is more sustained and delicate as a masterpiece.

T Y While a step forward from the decidedly rotten Bradford Dillman biopic (a very iffy step), the tone of this simpering version of the life of St Francis is credulous and irritating. It was clearly intended to bridge the chasm between biblical times and the summer of love. Zeffrelli mounts a paean to his Catholic faith, while attempting to one-up the ersatz/medieval glam of Camelot ('67). It benefits from Zeffrelli's usual attention to design and architecture, and he's intriguingly modern even when filming historical material; but it's harmed by its design fussiness also. 1973 was apparently the final year you could push the flower-picking, bug-admiring dippiness of the 60s flower child movement. Since it's moment under the sun was past, the culmination here reaches an almost impossible level of silliness.If all that wasn't enough, the movie also features mewling, didactic, simpleton songs about the glory of God's earth by Donovan, who clearly didn't understand that 100 percent gentle sincerity is absolute pap. But then the "rock" group Bread from the same era never figured that out either. BSSM is almost as full of irritating saps, as Godspell (which is the worst movie ever made).

tedg Three things of interest here.The first is cinematic. I am engaged in a movie indexing project that will likely go open source. There are a few beginning qualities I've been working on. I think I will add architectural cloth, as this film reminds me. Its main cinematic device — other than the ordinary ones — is the use of cloth to denote notions of eye, story, vision. There are four specific episodes here as well as the general acting style where the actors have been directed to act into their clothes.The second is largely historical and probably will only be appreciated by old farts like me. I can't quite explain the extent of the Beatles influence on the late sixties. There just hasn't been anything like it since then. They were more than admired and emulated, they were spiritual leaders. They were serious about this if not altogether willing, and that comment about being more "popular" than Jesus wasn't an offhand statement. In 1968, they were in Rishikesh, India seriously putting together something that they thought was attuned to cosmic structure. It was, in a sense. With them were a few Beach Boys and Donovan.Around this time they were approached by Zeffirelli to take roles in his "Brother Moon" project. They would have; Paul was the fellow behind the movie projects (and most else) and he truly wanted to. But this was the time of the breakup. So what happened was Zefferelli make the film with ordinary actors and Donovan's music composed with The Beatles at Rishikesh. So at least, this is an echo of the profound influence they had, perhaps as profound as Francis, and perhaps as compromised by the surrounding institutions.The third has to do with the church. How strange it is that the two most spiritually deep "Biblical" films (in my experience) were made by two gay Italians. These were men (Zeffirelli and Pasolini) not welcome in their chosen world, in fact persecuted for their being, persecuted by their own faith. And they would be even more today as the leadership has "gotten tough with queers."Lots of lessons here. I first saw this by an aesthetic hippie in about 73 who was carrying a worn print around from town to town to show it in coffeehouses, small ashrams and any alley he could find a spot in.Ted's Evaluation -- 3 of 3: Worth watching.

Mark Martin "Brother Sun, Sister Moon" is as refreshing today as it was when it was first released in 1972! In our rather cynical world of today, when it seems that the only fare available on the big screen contains an overabundance of violence, brashness and materialism; it is still a joy to behold this bright, outstanding and enlightening montage of Franco Zeffirelli's homage to St. Francis of Assisi. With beautiful, colorful cinematography of the Umbrian and Tuscan country sides; augmented by fine performances and skillful scenarios, this production is a wondrous blend which totally celebrates the life of a mystical man who revered the Creator through nature. Graham Faulkner's portrayal of St. Francis is sensitive and moving; running the gamut from madness to spiritual ecstasy to the realization of the virtues of simplicity. The young actor's sterling performance is one which will always be remembered through this film. All of the supporting players turn in credible performances; especially Judi Bowker, Valentina Cortese, Kenneth Cranham, Michael Feast, Leigh Lawson and of course, Sir Alec Guinness. This film was produced during an era when some Biblical stories were explored and exhibited as flower child scenarios on the stage and on the screen. In St. Francis' time, there were many troubadours who roamed throughout Europe as the only musical entertainment for the populace. Donovan's songs in the American version of the film are reminiscent of the Flower Child/Hippie troubadours of the 1960's and the 1970's; with lyrics that are beautifully melded, in some instances, with actual words of the First Franciscan; so what better music would be so perfectly representative of the Peace and Love which St. Francis practiced? Donovan's lyrics are not used in the Italian version of the film; rather, the lilting original score was created by Riz Ortolani and it works just as well. Ortolani's score weaves in and out of the American version with Donovan's songs and the complete Italian version is available on CD. My only regret about the production is the fact that Donovan's memorable songs in this film were never released in an audio soundtrack recording. I would certainly like to have a CD of the Donovan score to play in my automobile, if only to create a sense of serenity while driving in the rude and mean-spirited traffic of Los Angeles! Even though it is a bit dated in its flower child style, this film remains a truly inspiring and enlightening cinema masterpiece; a celebration of youthful, original innocence.