Brother Sun, Sister Moon (1972) User Reviews (71)

after all these years, still WORTH SEEING

[marcin_kukuczka · 8/10 · 4 April 2004]

This comment discusses the English version

BROTHER SUN SISTER MOON was the first film I had seen in my life. I was 10 at the time when it was on Polish TV (before 1989 such films were censored by communists). The feelings I had are hard to express with words. I loved everything about it, music, story, cast, scenery, everything.

Now, in 2004, when I see it again, I must admit that most of its splendor is gone. Where is this admiration? ... However, in spite of some faded emotions, it is still a film which I consider pleasure seeing again. Is there something magical about it?

I think that what makes me, personally, fond of it are four most basic factors: the director himself, Franco Zeffirelli, whom I have always admired for his "artistic soul", the story, far from the true, but still moving and retaining the gist of Francesco's life - love to God and His creatures, the music by Ken Thorne and sung by Donovan (especially the title song), and scenery in which the movie was shot.

Franco Zeffirelli chose excellent cast. Graham Faulkner was very much like Saint Francis: these profound eyes, smile full of love. WONDERFUL. Alec Guiness was also excellent. His role of pope Innocent is really unforgettable. Others, including Lee Montague (Pietro Bernardone), Leigh Lawson (Bernardo) and Valentina Cortese (Pica) also give memorable performances. Whenever I watch other films about Francesco, I can't get used to other faces than theirs from this film.

The story is very different. I don't know why Zeffirelli changed it so much. In fact, Francesco did not leave his family like that. What is more, he was a great "Lover" of the Holy Cross, which I can't find in this film. However, one forgets about all these mistakes when the scene with the pope comes on screen. A Polish movie critic said that it is the most moving scene in the history of cinema. This viewpoint is, definitely, overdone, but there is some truth in it. The mosaic of Monreale Pantocrator looking deeply into everyone's eyes, pope's dream and second calling of Francesco and finally his blessing to the amazement of others - the film is worth watching for thanks to this scene alone. You will not regret.

The last factor, scenery, is also worth considering. Film's Assisi is a lovely Italian town of San Gimignano, the hills of Umbria are replaced by Piano Grande, a parish church of Assisi by an old medieval abbey of Sant' Antimo, and finally a Roman basilica - the cathedral of Monreale - a real masterpiece of Norman - Byzantine art in Sicily (10 kilometers from Palermo). The locations in which this film was shot are, indeed, one of the best ever.

Finally, if the above advantages did not fully talk for this movie, there is one more - its message. The message of love, forgiveness and respect for nature is extremely important nowadays. Films which promote it, and one of them is, undoubtedly, BROTHER SUN SISTER MOON, are a real treasure of cinema. And this movie does it mostly by the power of flower and song.

I will end this review with a prayer of Saint Francis. Think about it. If we all copy these words to our lives, the world will be much better to live in:

"Lord make me an instrument of your peace,

Where there is hatred, let me sow LOVE

Where there is injury, let me sow PARDON,

Where there is doubt, let me sow FAITH,

This is in GIVING that WE RECEIVE

This is in PARDONING that we are PARDONED

This is in DYING that we are BORN

THAT WE ARE BORN TO ETERNAL LIFE!!!

Beautiful, lyrical, stately

[Libretio · 8/10 · 21 January 2005]

BROTHER SUN SISTER MOON

Aspect ratio: 1.75:1

Sound format: Mono

The early life of St. Francis of Assisi (Graham Faulkner), the son of a wealthy merchant who underwent a spiritual conversion following his experiences in the crusades and later renounced his worldly goods before establishing a holy order separate from traditional Church teachings.

Conceived and executed in much the same visual manner as his ultra-popular ROMEO AND JULIET (1968), Franco Zeffirelli's BROTHER SUN SISTER MOON attempts to draw parallels between the work and philosophy of St. Francis and the ideology which underpinned the worldwide hippy movement throughout the 1960's and early 70's. Hence the ragged-but-lyrical cinematography (by Ennio Guarnieri), fractured editing (by Reginald Mills), and the use of contemporary - but strangely timeless - folk songs written and performed by Donovan, all of which conjures the requisite mood of spiritual awakening whilst simultaneously dating the movie quite firmly within its period. Cynics will hate it, while others will embrace Zeffirelli's defiant romanticism. Daringly, Zeffirelli's script (co-written by Suso Cecchi d'Amico and Lina Wertmuller) contrasts Francis' piety and virtue with the bloated pomp of official Church doctrine, weighed down by internal politics and social indifference, though it's difficult to gauge if this represents a veiled attack on Christian orthodoxy or is simply a reflection of Francis' dismissal of outdated customs in favor of a return to Nature.

Lovingly crafted by Lorenzo Mongiardino (art direction) and Danilo Donati (costumes), the movie is toplined by a cast of gifted newcomers and screen veterans, including Judi Bowker (one of the most beautiful actresses of her generation), Leigh Lawson, Kenneth Cranham, Valentina Cortese and Alec Guinness. But the film derives much of its strength from Faulkner as the young, battle-scarred nobleman laid low by his wartime experiences, who emerges from the horrors of conflict with a completely new and spiritual outlook on life. Faulkner was one of a handful of young actors (including FELLINI-SATYRICON's Hiram Keller and LISA AND THE DEVIL's Alessio Orano) who emerged from European cinema in the 1970's, handsome and talented in equal measure, to burn brightly and briefly before disappearing into relative obscurity. Here, Faulkner's intense beauty and fresh-faced innocence are illuminated by Guarnieri's worshipful camera and Zeffirelli's attentive direction, which places him center-stage throughout (there's even a generous, PG-level nude scene halfway through the movie). This was Faulkner's cinematic debut, and while Zeffirelli couldn't have made a better choice for such a crucial role, the director later described him as slightly aloof from his fellow actors, which may explain his subsequent retreat from showbusiness. But here, his grace and dignity are displayed in abundance, and it's hard not to fall in love with him, every time he appears on-screen.

The alternative Italian version (FRATELLO SOLE SORELLA LUNA) runs approximately 14 minutes longer and replaces Donovan's music with a fully orchestral score by Riz Ortolani. In related events, editor Mills produced a 16mm documentary entitled FRANCO ZEFFIRELLI: A FLORENTINE ARTIST (1973), compiled from footage shot during the making of the movie, featuring a lengthy interview with the director himself.

I liked the film

[kellyo-3 · 8/10 · 17 August 2005]

I just wanted to comment on the film, mainly because the one other commentator stated that the film was terrible. I happen to like the film. Sure, there are moments when it is a bit too saccharine, but it is still worth viewing. The cinematography is superb, and I think the music score is AMAZING. It is simple with a folk-song quality that I think fits with Saint Francis's teachings. I only wish there were a soundtrack available; I'd buy it in a heartbeat. I agree with the other commentator that there is nothing really "new" added to the story of Saint Francis; however, the story is a good story without something "new" added to it. I do wish that the film could have been a bit "grittier"; what I mean is, sometimes in the film, Saint Francis comes across as if he were so kind and gentle that he is floating or mindless. I wish the film could have shown the harsh realities that Saint Francis would have faced. Overall, the film is beautiful. Don't miss it.

My favorite movie of all time!

[colorado-100 · 10/10 · 16 November 2005]

The filmography by Zefirelli is stunningly beautiful -- one of his best -- a masterpiece worthy of a Florentine artist (Zefirelli's home city).

Being an admirer of Francis of Assisi, I've seen several films which attempt to portray his life. This is the only one, in my opinion, which successfully captures the incredible SPIRIT of the man. It's a movie to experience with the heart rather than the head. It has made a lasting impact on my own faith and spirituality since I first saw it in Italy in the early eighties.

The Italian version of 'Fratello Sole, Sorella Luna' is edited differently and has the beginning scenes in an order slightly different from the English version.

Note: It's helpful to know something about the life of Saint Francis before viewing the film. Since it centers on his spiritual rebirth in Christ, it's rather sparse in other historical details of his life. Zefirelli assumes that the viewer already knows these -- as most Italians would. For example, when Francis first stands in silence and awe before the crucifix in the ruined church of San Damiano, Zefirelli assumes you know that this is the moment of Francis' conversion, that this is when Francis first heard Christ say, "Rebuild my church."

Beautifully haunting interpretation

[Schlockmeister · 20 April 2001]

Oh yes, we can look at this as a parable of the "hippies" and an anti-war, anti-establishment film (as if those are somehow "bad" things.) It is all that. Any director who cannot interpret through the lenses of his time is not a very good director. Zefferelli is a master at it. It may make the movies seem dated but that also is a sign of mastership as we see the life of Francis and also see life in the Vietnam era 1970s. The movie itself is hauntingly filmed in a dreamlike manner. It tells the story of Francis who we will later know as Saint Francis Of Assissi. It is not an attempt to tell the complete story of the saint, but to use episodes from his life to speak to the culture of the time. It is not a biography so much as it is an interpretation.

13th century flower child

[bkoganbing · 6/10 · 18 December 2016]

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.

This movie highly impacted me as an early college student in the 1970s.

[[e-mail] · 10/10 · 29 October 2005]

Upon seeing this movie in my young 20s, I fell in love (metaphorically speaking) with St. Francis of Assisi and the simple message of life that he practiced. Though many of the absolute facts were stretched, like in most "historic" films, the movie was completely on the mark about his simplicity and his love of nature and mankind. In addition, it gave a very plausible and probable glimpse of the love relationship he had with St. Clare, all in contrast with the idea of love and sexuality which we have in these times.

Though the Italian version soundtrack was not by Donovan, the English language songs he sang gave the movie great focus and support. I often wondered why it was only issued on vinyl in Italy, which is how I discovered Donovan's songs were not present. The music is sensitive and wonderful.

Both young actors, Bowker & Faulkner, fill their roles with perfection. Bowker is one of the most beautiful and sensitive young actresses of that period, so it is with wonder that she was not more utilized or popular.

Yes, the film does have the allegorical connection with the hippie movement, but that does not diminish the story nor the impact. In fact, rather, it parallels our times and served to connect me with the times of Francis, if that is possible.

Finally, Zeffirelli deserves a thanks for tackling this saint with compelling zeal, passion, sensitivity, and panache. As another reviewer here noted, the scenery will blow you away. And as a child of the 50s who grew up in the late 60s, this movie offset the idea of love having to be of a sexual nature, and elevated love to a plane where it becomes transcendent and transforming. Isn't that what love is supposed to do in our lives? I have had my own 2 sons watch it with me more than once as they were growing up, and they are mid-20s now.

It will be a hard film to find, but is viewable for any age without reservations and is well worth the search. (It is now available on DVD for around $10 or less.)

Dated But Watchable, and at Times, Beautiful

[madcardinal · 6/10 · 9 April 2011]

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.

An Inspiring and Enlightening Motion Picture

[Mark_A_Martin · 10/10 · 15 May 2007]

"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.

beautiful

[St0nE_heEad · 7/10 · 20 November 2003]

Although I am not a religious person, and I've never heard of St. Francis before, I loved this film. It employs what I believe is some of the greatest use of colour, thus the movie is beautiful beyond words, with my favourite moment being the end, when Francis meets the pope. As for the story, it was good, but the visual aspect is much more overwhelming.

A prisoner of its time period.

[Scoopy · 1/10 · 22 October 1998]

Once upon a time, as legend would have it, there was a time when we set aside our material concerns and lived in harmony and brotherhood. This was not in the time of Francis, but in that period from the Summer of Love until the Nixon resignation. Although this period encompassed about as much of the seventies, we now refer to it as "The Sixties".

Much good came of this time, but there were also many simplistic expressions of its spirit. Such is "Brother Sun, Sister Moon", which is not really about Francis at all, but uses Francis as a metaphor to express the ideals of the Flower Power movement. With his love of nature, and his will to eschew the trappings of material acquisition, Francis was the patron saint of the Woodstock era. In essence, this movie is "Hair" without the hair.

Viewed through today's more cynical prism, the movie seems laughably naive. I didn't laugh, but I cringed in embarrassment many times. I think the worst moment must be the anachronism when Francis and his little congregation sing Donovan songs at their country Mass (this is contrasted to the somber, opulent, silent ritual of the "official" Mass in town). In effect, they start to sing along with the musical score. Remember "folk masses"? Francis invented them.

Donovan, the ultimate hippie, wrote the entire musical score and I must say it is the single worst score I have ever heard in a movie. What could have possessed Zefferelli to use this music exclusively?

The script is among the worst I have ever encountered. It is nothing but the cliches ripped from the "Lives of the Saints" that can be found in any Catholic elementary school library. There is not one original or thoughtful moment. The acting catches no complexities or nuances at all. Francis and Chiara are straight out of a high school play ... an idealized concept of innocence like the faces in a Keane painting. Any Franciscan viewing this movie would question his vocational choice of belonging to an order founded by a simpleton.

The good news is that the movie was filmed by Zefferelli. Whatever other faults it may have, it ranks as among the BEST filmed movies you'll see. Virtually any single frame could be extracted and made into an award-winning photograph. There is no randomness, nothing is left to chance. Every camera angle, ever zoom, the placement of every extra in every frame is perfectly calculated and choreographed. Watch it in stop-motion, and you'll be dazzled by the composition of each image. (Incidentally, I think the real St Francis would probably have said "you may set up your camera, but we'll just be ourselves")

If I had a brilliant period script, I would gladly hire Zefferelli to film it. Unfortunately for Zefferelli, Shakespeare didn't write a script pertaining to this subject.

Il Poverello

[Vincentiu · 10/10 · 29 December 2006]

Interesting trip in the world of a delicate Christianity. Coloured chalk picture of a time between tale and reality. Suggestions more that facts, mystery in spring shades.

To talk about Francis is very strange. He is not a saint like many others, he is not a historical hero who transformed a Church. He is, for many, the second Crist, patron of animals, bearer of Jesus stigmas, poor man, friend of sun and of wolf, who lives only like sign of God's love. So, it is not important if the movie is a masterpiece, if the script respects the authentic facts, if Francis or Clara are shadows of a old childhood's story. The truth is a insignificant detail and the essence is faith.

In fact, it is a slice of beauty. The scent of time, the beauty of nature and actors, the delicacy of gestures, the respect of tradition, the light, so important in this case makes a subtle, in his essence, portrait of Il Poverello. No great ambition but a sweet respect form for a lost golden age.

Moving story covering the general life of St. Francis of Assisi

[Phidippides · 7/10 · 21 September 2008]

I first saw this movie in the mid-1990s just before a trip to Assisi and decided to watch it again recently. What I did not catch the first time around was the cultural lens through which Zafrelli must have shot the film in the early 70s. It was all too apparent to me now. The movie has a heavy dose of flower power feel to it, with the fields of flowers, halcyonic nature images, and social justice messages sprinkled throughout. At one point when Clare runs through a field I had a flashback to "Little House on the Prairie". Be aware of this, and take it with a grain of salt.

Despite the dating of the film, the message it contains is so strong that it "turns the tables" on our modern values in life and impacts us in ways that movies don't usually do. In this regard, the movie is quite remarkable. You see Francis begin with his conversion from a Crusader-of-the-world to a person wholly dissatisfied with material belongings and the ways of contemporary life. The life Francis begins to lead, and the message he then lives out, is so radical to Assisi of the 11th century (not to mention to our own times) that he is thought of as "mad". Nevertheless, to us Francis makes too much sense. Some of the most remarkable scenes in the movie when his infectious message overcomes friend after friend, all of whom decide to join him in his simple way of life in love of God. It is indeed in Francis' transformation, and the transforming effect he has on others, that makes the film so moving.

I think it has been pointed out that the movie is a somewhat fictionalized version of the life of St. Francis of Assisi, and the movie only covers the important years of interior conversion he experienced rather than his later life. I should also point out that the overly-dramatized acting (check out the overly-slow gestures the characters tend to make at times) eliminates an aspect of realism from the story. But as a movie reflecting the basic message and youthful life of St. Francis, it is quite moving. The impressive medieval filming location, the ornate costumes, and the landscape scenery add to the Middle Ages feel of the time and help bring us closer to the authentic life of the Saint.

Exaggerated sentimentality

[howard.schumann · 5/10 · 25 July 2005]

Czech writer Milan Kundera has defined kitsch as offering a sanitized view of the world in which "all answers are given in advance and preclude any questions." Clement Greenberg defines it as "vicarious experience and faked sensations". "Kitsch", he says, is "the epitome of all that is spurious in the life of our times." One cinematic example might be Brother Sun, Sister Moon, the 1972 film by director Franco Zeffirelli that depicts the early years of St. Francis of Assisi, a Christian saint of ecology and the environment. The film has some strong moments, particularly in the last half-hour, but is undone by amateurish acting, exaggerated sentimentality, and the banal songs of British folk singer Donovan.

Francesco is the son of a wealthy textile merchant. He has indulged in the good life in his youth but when he comes back seriously ill from fighting a local war his attitude towards life changes. He loves watching the birds, communing with nature, washing lepers, and helping the poor. He hears the message from the cross of a church that has been destroyed to "go and rebuild my church". Turning from his father's greedy ways, he renounces all his possessions and follows his ideal of Christ to live in simplicity and poverty. After one of his followers is killed, however, he goes to Rome to find out what he is doing wrong and, after much hesitation, receives the blessing of Pope Innocent III who is played by Alec Guinness in the only scene in the film that has any real emotional depth.

Graham Faulkner is unconvincing as Francesco, playing the would-be saint with all the gob stopping goodness and wide-eyed conviction of Martin Short performing a routine on Saturday Night Live. He is not helped much either by Judi Bowker as Clare, a young disciple who joins Francesco in running through the flowers or by Lee Montague in an hysterically overwrought performance as Francis' capitalist father. Zeffirelli depicts the young St. Francis as a stereotypical hippie rebelling against the sins of greed and materialism. Of course by the time of the film, the hippie movement had turned into a sordid scene of drugs and violence and the idealism of the flower children had largely been preempted by a voracious media that inevitably responds to new ideas with the position that if you can't beat 'em, embrace and emasculate them.

I cannot argue with the need to return to a life of authenticity, a life of the spirit, but despite all its surface promotion of an open lifestyle, the film is a barely disguised attempt to bring all the unwashed hippies into the Christian fold. Nonetheless, Brother Sun, Sister Moon is a beautiful looking film that might have still worked if the director had simply followed the teachings of his protagonist and shown less ostentation and earnestness, more naturalism and simplicity, and more appreciation than exploitation.

I absolutely love this movie!

[Ed in MO · 25 March 2004]

This is one of the most beautiful films I have ever seen. Whenever I feel down or my energy lags, I pop this film into my VCR and I'm transformed. The rythm of the movie is what I enjoy most. It is like a great symphony, with rising action that compliments the wonderful music by Donovan.

This is a film that is totally captive to its time and place. It's impossible to think of this movie being made five years earlier or later. It is completely a product of the early '70's. The brotherly love shown by the Franciscans of Assisi, the touching of man to man without a hint of homosexuality, would be unthinkable today.

Franco Zeffrelli is a master of setting up his camera and location shooting. Notice the great sweeps over the lovely red and yellow fields of Italy, and the use of the architecture of the region.

My Favourite Movie

[adrian_da_dane2000 · 10/10 · 25 September 2005]

I would highly recommend this movie to anyone who has doubts based on Roman Catholicism, is mentally upset, seeking inner peace, seminarians, those who have received the Calling & just anyone who would care to take the time to dig up this movie & watch it. This movie has inspired me a lot, more than i can ever imagine, because it compelled me to become a Priest not once, but THRICE!!! This is truly an awesome masterpiece, but can surely be regarded as one of the unsung heroes, where movies are concerned. This movie takes you to a place far away from the troubles & anxieties of the present. I'm inspired by it, I know you will too... Plz don't hesitate to contact me, my e-mail address is [e-mail]

There is one redeeming grace

[bmjd46 · 6/10 · 26 March 2005]

Back in the early 70's when I saw this movie, the theater was filled with smiling Francis wannabe's. There were even people who walked through the streets barefoot in robes and tonsured heads to attend. They were not Franciscans. I think only those most endowed with Hippie sentimentality were not disappointed.

HOWEVER, there is one astonishingly effective scene worth sitting thought the rest of the film to see. Towards the end, Francis is in Rome hoping the Pope will grant his order recognition. The Pope is seated on a throne any king would envy, in splendid vestments bedecked with gold and jewels. The great chair is on a platform high above the floor of the great church. There are at least a dozen wide steps leading up to the almost Godlike heights at the top. After Francis presents his plea, the Pope, in one of Alec Guiness' typically perfect portrayals, stands up as the music swells and slowly begins to descend. But Zeffirelli positioned the cameras in such a way that you can only see the vertical portion of the steps, each of which is an intricate mosaic. The resulting shot makes it appear that Guiness is gently descending from heaven itself, like an angel floating down a beam of light.

Francis looks on in awe, and grovels before the Pope, who quietly lifts Francis up and then bows himself to kiss his feet.

That was more than thirty years ago. I've only seen this film once. Not the greatest to be sure, but this moment of genius has never left me.

Franco Zeffirelli is a Genius!

[Bloodfordracula · 10/10 · 9 January 2003]

Franco Zeffirelli is responsible for three of the greatest films ever made: 'Romeo and Juliet', 'Jesus of Nazareth' and 'Brother Sun, Sister Moon'. This film displays Zeffirelli's genius at it's clearest and is a perfect amalgamation of his other two films, 'Romeo and Juliet' and 'Jesus of Narareth'. Ennio Guarnieri's photography is amazing. Any single frame is this movie is a work of art that could be framed and hung up on a wall. Like in his previous film 'Romeo and Juliet', Zeffirelli brings a a sense of urgency to this film. Donovan's music is beautiful even though he only wrote four of the songs. The rest of the songs, including 'Brother Sun, Sister Moon' were written by Italian composer Riz Ortolani. If you love 'Romeo and Juliet' or 'Jesus of Nazareth' you'll love this film.

St. Francis as the Original Flower Child

[dglink · 6/10 · 5 April 2004]

There are some movies from one's youth that should not be seen again. When it was first released, I thought that "Brother Son, Sister Moon" was a wonderful film. More than 30 years later, I wonder what state of mind I was in when I saw it (or what I was smoking for that matter). The film is not without redeeming qualities. The art direction, costumes, and photography of the Italian countryside are up to Zeffirelli's standards, although they are a bit pale next to "The Taming of the Shrew" and "Romeo and Juliet." However, the endless fields of flowers and the cloying shots of animals and birds become monotonous and are like banal calendar scenes. The songs, which were written and sung by Donovan, have dated badly. While they may have been tolerable during the "Age of Aquarius," they seem simplistic and corny today. The drama is not much better than the lyrics. St. Francis and St. Clare and their followers have been reduced to a roving group of flower children. The inspiration for St. Francis's spiritual awakening and the charisma that brought others to share his vision and follow him are sadly missing from this interpretation. St. Francis comes across as a loony, and his disciples' motivation for following him is unclear at best (and somewhat questionable at worst). Occasionally the film borders on the ludicrous, such as a scene where the band of brothers is washing a group of lepers in a stream. The boys are smiling like simpletons and expose perfect sets of Pepsodent teeth as they tend leprous sores, which look like little more than dirt smudges. Back in the early 1970's, I must have been incredibly naive and forgiving to fall for Zeffirelli's kitschy retelling of St. Francis's story. Time has certainly changed me, but unfortunately it has not changed this film.

Delightful initial memoir of an ex-crusader saint.

[Denny-45 · 8/10 · 30 October 2007]

This film gives us an ideal figure of a Christian. Yes, Francesco of Assisi is a true follower of Christ. He is a spiritual disciple of Yeshua Ben Yosef (Jesus). The movie tells us about it beautifully. Francesco was a Crusader. When he returned from the holy land, he realizes that war and killing is wrong, even if it's done by the name of God. Just like the sage that experience "enlightenment", Francesco aware that Jesus Himself abandon luxurious materials and become poor. Francois also aware that even birds got food everyday without need to twine (work). He rejects the material pursuit of Catholic Church authorities and his society. Then he establishes his own monastery and in the end, the Pope himself sees that Francois is a "right" person. For me, this movie is worth to see for every spiritual seeker. I enjoy the scene when Francois do full nudity in front of inhabitants and force them to throw away their gold and other extravagant stuffs. I also enjoy when in the end Pope Innocent III bow in front of Francesco and kiss his feet. The pretty panorama of Italian mountains and flower plain is attracted me so much. Nothing technically novel from this film. It's more Hollywood than Neo-Realism. It's easy to understand, yet, it is so poetic. I very recommended this movie for everyone who wants to follow/be acquainted with Christ. Brother Sun and Sister Moon can help you awaken your sleeping heart. Brother Wind and Sister Air can sublime your awareness. Just hear their tunes

Good but not good enough

[karl_consiglio · 6/10 · 2 October 2008]

Good acting, some nice cinematography, all in all good considering it an old film but I must say it was way too spoonfeeding for my tastes and a lot of the life of St Francis was left out. This is the same director that shot Jesus of Nazareth, the Monthy Python boys could easily have spoofed this as they did with that due to this very spoonfeeding I am on about. I think I much preferred the movie "Francesco" with Mickey Rourke, although not even that made me feel as engulfed as the book I read about the man and saint, definitely one of my favorites. St Francis was a downright rebel, this is not documented well enough here and when they dare to I must say there are some cheesy and unconvincing moments. Another thing to point out and i am glad they don't do it anymore is when you get them Italian characters being played out in the cleanest English. Now don't get me wrong the man and his story are so great that even this version is worth a watch. There is a lovely part about the stones. Oh and the music to this film is truly special and adequately most poetic.

Saint Francis as a real groovy guy

[mjneu59 · 4/10 · 9 November 2010]

For this bubblegum biography of Saint Francis of Assisi, director Franco Zeffirelli wears his heart on his sleeve, but his head is full of flowers, butterflies and birdsong, enough to turn even the most stubborn romantic into a hardened cynic. Pandering shamelessly to the wide-eyed innocence of an audience just then learning how to make love and not war, Zeffirelli presents the young Saint-to-be, somewhat anachronistically, as the world's first counter-culture dropout. In the same late '60s spirit most of the film leans toward unforgivably trite platitudes: witness the ludicrous scene between Francis and a tearful Pope Innocent III, played by Alec Guinness like he was anticipating his future role as Obi Wan Kenobi. Fortunately the director's eye for imagery is stronger than his ear for dialogue (or music: nothing dates the film more than the Donovan guitar ballads on the soundtrack). The best antidote for anyone watching the film at home would be to simply mute the volume and enjoy the scenery.

Excellent

[J_Andrew_Evans · 9/10 · 21 June 2006]

This is an excellent film, thought provoking, and beautiful portrayal of the life of Francis of Assisi. People sometimes criticise the film for the "flower power" scene with the music of Donovan in the background and it is perhaps a little over the top. But it is nevertheless perhaps a good modern take on the message of Francis regarding the love of and respect for nature. The music strikes a chord with the period in which it was made and anyway to focus simply on that one scene and avoid the rest of a finely crafted and beautiful take on the life of Francis and his challenge (still) to the materialism of the life of his time and our own - this makes for an excellent film. Hugely recommended. Out on DVD at last!!

Brother Sun, Sister Moon

[lasttimeisaw · 6/10 · 26 October 2011]

A narcissistic portrayal of St. Francis' enlightenment and fully equipped with a melancholiac rural beauty of the nature, the ramifications are generally benign, albeit for recreation only.

Structurally this is a prequel of Rossellini's THE FLOWER OF ST. FRANCIS (Francesco, giullare di Dio 1950), divided rightly by the before/after of Francis' pilgrimage towards Rome, at once with radically opposed visual punches, a perfect set for a double-feature, color Vs. black and white, lavish versus austere.

The nearly non-Italian cast (excludes Valentina Cortese) is dubbed with Italian in the version I watched yesterday, it inevitably thwarted the fluency of the film, which, as a matter of fact, could be mostly paid no heed to as the performances are ludicrously overblown, particularly Graham Faulkner's Francis, Zeffirelli's personal preference triumphs in this film in every respect, the unrealistic beauty of St. Francis and his apostles is to meet the eyes only! Alec Guiness did an unanticipated role as the Pope Innocent III in the rear part of the film, where the setting in Rome evokes the similar tableaux in the ever-famous Chinese Monkey King story when he encounter the emperor of all-gods in his palace (the west-east correlation is unbelievably tangible!).

So, personally I cannot endure the over-dramatic enactment of this biographic film, however the narrative clings closely to the story itself, while the cinematography of the bucolic Assisi is captivating enough to engross me attentively, yet my deepest sympathy is that the epiphany which I expected had never arrived.

St. Francis of Assisi returns from battle to have an epiphany that leads him to establish the ascetic order that would bear his name.

[ajoyce-222-935612 · 3/10 · 24 July 2012]

Where do I begin? This film plays like a clumsy morality play, not a first-run film. The acting and direction is so ham-fisted, he even has Donovan singing what should be obvious about the story's message from watching the movie.

It takes little account of church politics, only tipping the director's hand to this reality in the final scene that seems to so irritate lovers of this film. The fact is, Pope Innocent III would have to have been an idiot to miss the opportunity to absorb St. Francis' movement. Making a martyr of him would only have made things worse for the Church. (In real life the Pope was reluctant to sanction the Order but relented when he had a dream of St. Francis supporting the church. Which only proves my point.)

Zefirelli plays into the Myth of the Righteous Poor, the 'dignity' of poverty and labour. In that sense the Franciscan Order truly is a godsend to the church hierarchy. They can sanction it as a kind of penitence for their own opulent lifestyle as a means of pointing to the actual message of Christ. And it keeps people enslaved to the existing economic-religious order, asking nor expecting nothing and certainly no threat to Catholic authority.

Brother Sun, Sister Moon thus becomes little more than a propaganda piece for Christian theology and misses the most interesting aspects of St. Francis' life and message. For instance there is little acknowledgement of his attachment to Nature and animals. I would have preferred an honest story that told of the obstacles, struggles, pain and suffering the Franciscan Order would have to have undergone, and how they coped as a community. There are inevitable questions and difficulties arising from such a break with society, worthy a goal as it may be. How are these met? Brother Sun and Sister Moon never goes deeper than surface level. Instead we get dogma.

The film is as some reviewers have noted, a product of its time, when many intentional communities ('communes') were breaking away from mainstream Western society to live a more Nature-centred, less materialistic way of life. But even this message is subsumed in the movie to the doctrinaire aspects of Christian theology.

The only reason I give this 3 out of 10 is because the production values are first-rate, the costumes incredible, the locations magnificent. Thoroughly professional but ultimately, a misfire. Read a biography of St. Francis instead.