The Age of Commercialism

Simply Perfect

Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

In the days when kids were chanting, "tune in, turn on, drop out" are the days when Franco Zeffirelli chose to make a film about St. Francis Of Assisi whom he turns into the world's first Christian flower child. Apparently he knew his market well. There is a more traditional film biography of Francis with Bradford Dillman in the title role.This one also has a score of songs that well fit the director's idea by British folk singer Donovan. Graham Faulkner plays Francis who abandons his fairly prosperous family to become what we would later call a hippie. All Faulkner needed was some cannabis and he would have fit into any commune of the time. I have to say that Faulkner's wide eyed innocence is infectious as is that of Judi Bowker playing Francis's first woman follower St. Clare who founded an order for women along the same lines as what Francis was trying to achieve.The final confrontation scene with the beggarly Francis and his disciples and the majesty of the Roman Catholic Church in Pope Innocent III works on so many levels. Alec Guinness who was a most serious Catholic in his lifetime plays Innnocent. He probably couldn't resist playing a Pope.Guinness is captivated by Faulkner's faith. At the same as is remarked by an observer he well knows that a message of be content and enjoy the simple things of life is a great one for quieting down class disturbance. Innocent III was no dope.Brother Sun, Sister Moon is an interesting interpretation about the life of one venerated as a saint.

My Anglican cum Lutheran grandfather was a projectionist when this movie came out and said he hated the movie, complained that St. Francis was a crazy hippie. I finally had a chance to see it last night, and while my grandfather wasn't exactly wrong, I don't think he knew much about Francis of Assisi, the 12th century Italian visionary. Zeffirelli's depiction of the life of St. Francis is touching and beautiful. The art direction and cinematography are stunning -- the colours of nature and of the Bishop's court are rich and vivid, unlike the clothing of the Poor Brothers of San Damiano and the poor they served. Donovan's soundtrack works perfectly, and Alec Guiness as Pope Innocent III is wonderful. Maybe Francis was a bit of a crazy hippie, but he was just what the Church needed. Inspiring movie!

Vastly superior to "Francis of Assisi," a movie which is as dry as dust. I watched the two movies one after the other with my Catholic mother-in-law, and she strongly preferred "Brother Sun, Sister Moon" to "Francis of Assisi." This film conveys real emotion and reminds us that those who feel called by God are different from most workaday folk. For those of you who have a strong aversion to the sight of the human body, be advised that there is a nude scene in "Brother Sun, Sister Moon." It has symbolic significance and is quite beautiful. Some reviewers on the internet thought the Francis and Clare characters seemed stoned. I did not see it that way at all. To me, they were conscious of being illuminated by the Holy Spirit. In other words, they were atypical and in a tiny minority of humans on earth; of course they're not going to act like your next-door neighbor or some concocted role model from a religious textbook. The acting is competent without being great. The soundtrack is written and performed by Donovan - think "Atlantis," "Jennifer Juniper," and "Hurdy Gurdy Man" - so you will either like or dislike the soundtrack because of this, depending on your musical taste. For those who strongly dislike the culture of the late 60s and early 70s, you may not like this film, because it was made in the early 70s and evokes the tone and feel of that period.

"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.