Fratello sole, sorella luna

its lively poetry. like a refuge. like a veil. this is the gift to me each time when I saw it. and the motif to discover it as the best film about Francisc of Assisi. sure, it is a religious film. and more. sure, it has the mark of its director art. but not only. it is a declaration of faith and the inspired translation of a profound and delicate story about a symbol of Western Church. and this does it real different by the other versions. because it is the film who not gives a story but reveals its aura and air and flavor and force and specificity. its poetry is the basic motif to see it. for a sort of special beauty. for the art of a refined manner to see the pure faith.

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.

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."

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.

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.