Customer Reviews

Brother Sun, Sister Moon (Widescreen)

5 star:		(160)
4 star:		(25)
3 star:		(9)
2 star:		(5)
1 star:		(8)

 

 

I am a member of the Franciscan Third Order and fell in love with this movie back when I was only 13. (I'm now 34) This movie is definitely a product of the 60's - but the message is timeless. I feel badly that the review by Amazon was so discouraging. I would not want anyone to read that and make a judgement.

The movie represents, in my opinion, the true beauty of the Franciscan charism. The joy, simplicity and love that our Saint Francis embodied. I felt that Mr. Faulkner was an EXCELLENT choice for the lead role - he couldn't have been any closer to what I imagine Francis being. The director, Franco Zeffirelli, has done notable films ("Endless Love" NOT among his best). If you are a fan of the famous "Jesus of Nazareth", then I would suggest viewing this. In any case, this is a wonderful little film to get you acquainted with this timeless saint.

One bit of trivia - Sir Alec Guinness wanted to play the part of the Pope - as he had just converted to Catholicism not long before the making of this film. :-)

Hope this rudimentary review helped!

After two weeks and four viewings of this simple but surprisingly rich and powerfully moving film about the early life of St. Francis of Assisi, its stirring music lingers in my ears, its hopeful message still aflame within my heart.

How does one rate movies? I choose five main categories: the filming, characters, musical score, development, and theme. All elements are related, so I conclude with overall remarks.

I see this film as primarily a religious one, with heavy emphasis upon personal development. Thus, I was pleased to see effective focus of the camera upon the facial expressions of the characters. For example, the eyes of Alec Guinness's Pope Innocent III clearly show me his great warmth and concern for young Francis as he asks the Holy See for his advice. Francis's eyes likewise convey his deep humility and sincerity. Pietro, ripping his bread from his jaws as he eats, reveals his fury raging uncontrollably. The filming also glorifies the fabulous scenery of Italy and the majestic colors of spring.

As for characters, the main question I always have is, are they believable? Can we identify with them? Even with Faulkner's Francis, to a certain extent (he was a saint, after all), I say yes. That he seems to have been "bought out" by Paulo at the papal court shows his human nature. Giocondo's reluctantly joining Francis and Bernardo, perhaps weighing contingencies, is not unlike what I might have done in his shoes.

The music? It was 1972, so Donovan was a good choice, but his score fitted well with one of Francis's life themes: simplicity. Francis's real-life musicians would likewise have sounded imperfect, which made the film more real for me. The instrumental music is breathtaking, sweet and stirring to the bone marrow. The hymns are simple and joyful enough to have established themselves in my ears even above the music of the Christmas season. While organ music didn't exist in 1206 A.D., it might have been added to reach a modern audience that might be alienated to Gregorian chanting. Historical realism is not the film's main goal, although the effects were well enough done to have earned it an Academy Award nomination.

Do the characters and plot develop enough to keep interest? In many of the characters I see the step-like change associated with the impact of profound religious influence. Francis, from pampered cloth-trade heir to tattered, mendicent friar is most striking. Powerful is his change of heart, from frivolous and selfish to pointedly purposeful and sacrificial lover of humanity and, indeed, all life. Bernardo, ever loyal, comes to realize what this loyalty must mean after his return from war. The bishop moves as a chess piece: forward in being humbled by Francis's example, backward in yielding to the powers of state.

Most importantly, I think, is the theme for this film. Although its messages are primarily religious, I feel it still reaches out to all audiences. The quest for purpose in life is inherently a religious quest. Francis seems to have made Jesus more accessible to tens of generations of Christians, even more so with this touching film. The compassionate and activist spirit in which he imitated the gospels has encouraged me to dig deeper to find Christ's meanings as he did.

Overall, this is a beautiful movie, one I would see a hundred times. I chant its hymns with exuberance. I am propelled by the flame it rekindled in my bosom to live more like Jesus, less afraid to reach out to people. I felt ten years younger watching Francis's reckless abandon. Yes, reviews are polarized between Sappy Movie Award to Best I've Seen Award, perhaps as much so as the generation who saw it first in the 1970s. A sensitive hero Faulkner's Francis is, but one with an iron rod of dedication. Most negative reviews focus on the film's technical aspects, while the positive reviews expound on the effect it has had on the viewer's heart and life's renewed sense of purpose and vigor.

How refreshing it is to see Brother Sun, Sister Moon once again, twenty-six years since the film's original release! In our 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, even though only on video. With beautiful, colorful cinematography of actual locations; augmented by fine performances and a skillful scenario which is enhanced by Donovan's music of the kinder and gentler times of the Flower Child/Hippie era, this production is a wondrous blend which totally works in celebrating the life of a mystical man who worshipped the Creator through nature. Graham Faulkner's portrayal of St. Francis is sensitive and moving; running the gamut from madness to spiritual ecstacy to the realization of the virtues of simplicity. The young actor's sterling performance from 1973 is one which will always be remembered through this film. My only regret about the production is the fact that Donovan's music was never released as an audial soundtrack recording. Certainly, the original music is reminiscent of the Flower Child era; with lyrics that are beautifully melded, in some instances, with actual words of the First Franciscan, but what better music would be so perfectly representative of the Peace and Love which St. Francis practiced? I would certainly like to have a recording of this 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

This film has been seen and loved by thousands of people... I own the film and view it again and again. It is considered a cult film, one that is loved by individuals who strive to live the values of St. Francis is a very technological, hectic and busy world. Viewing this movie at least once a year will bring you back to what life is really about. The simplicity of God's creation and the innocence of love. Tis is a gift to be simple, tis a gift to be free. The music by Donovan is glorious and I have recently been searching for a music CD of this film. Look at the birds of the air, they do not have to go to college or work 40 hours a week, but our heavenly creator feeds them and cares for them, as should we. The message of St. Francis is timeless.

I first saw this movie in 1976 and immediately fell in love with it. Now some twenty-nine years later I can honestly say it hasn't lost much of its initial impact on me. While I won't go so far as to say that it played a part in my conversion to Catholicism, I will say that it provided me with a 'divine ideal' of what being Catholic should be about.

While it's true that the sixties hippie movement was a little too influential in Franco Zeffirelli's re-imagining of the young, nature loving saint, it doesn't take too much effort to simply acknowledge those cultural elements and move past them. Of course the Donovan music in the soundtrack may make it a little difficult for some.

Another often heard complaint concerns a number of historical inaccuracies within the script. I'd like to point out that the main function of a movie is to entertain. I don't know of any movie based on a real person or true event that is completely accurate. When you watch a movie a certain amount of artistic freedom with the storyline should be a given.

What we do have in 'Brother Sun, Sister Moon' is a film of overpowering innocence and spiritual purity. It's a story of one man's vision of the "Life of Christ" and his commitment to living that vision to its fullest. Coupled with some of the most amazing scenic footage of the Italian countryside you'll ever see Zefirelli has given us not only a moving spiritual document but a visual feast not soon to be forgotten.

Praise should also be given to a young cast, most of whom I've never seen in anything else. Graham Faulkner "is" Saint Francis as far as I'm concerned. Leigh Lawson was superb as his best friend Bernardo, as was Judi Bowker as the lovely Clare.

Like other reviewers, I was dismayed by the Amazon.com review. I am a Secular Franciscan and have done alot of academic study on the life of St. Francis. I also attended a Franciscan college that has a world famous Franciscan Institute, so I feel I am able to make a reasonable judgement about this film.

Although I wish the film had covered some of his later life, as it portrays the early days of St. Francis this film is really excellent. It very accurately portrayed Francis' early, privileged, and carefree beginnings to his change after the war. I loved the beauty of the scene where his mother is nursing him back to health and sings him a beautiful song...very well done.

The depiction of his horror upon visiting the "factory" where the poor workers are dying and making the expensive cloths is especially moving. Historically, Francis realizes a change has come about when he is able to embrace a leper - something he had a particular horror of in his early days. The movie does show the horrors of leprosy and both Francis, Clare, and his brothers ministering to the lepers.

The end scene with the Pope is magnificent - the church at this time was very wealthy, but detached from the average person in many ways. Alec Guiness delivers the memorable line about the clergy being arrayed in gold and jewels and tells Francis, "You in your poverty, put us to shame."

Don't pay attention to the negative review by Amazon. This is a beautifully done movie in every way. I have also heard negative comments about Donovan's soundtrack, which to be sure, has elements of the "flower power" days, but is lovely.

See this movie - you will not be disappointed. You will want to know more about Francis of Assisi and his later life and how he changed the church, and the life of the people, in a significant way.

I'm a seminarian and I viewed this film for four times! Franco Zefferelli is magnificent! He has truly this artistic style of directing especially in the scece where Pope Innocent III and Francis has this dialogue. Graham Faulkner is truly well-defined actor as he portrayed St. Francis so as Jodie Bowker as Clare and the other casts! I like also the scenes where Francis is on the roof top and also his trial in front of Bishop Guido that is most tearful scenes to watch! The productions is great so as the music theme, Donovan certainly blended more emotions in his scoring. What more could be interesting in the movie are the artistic sense of cinematography and the movement of the cameras especially in the scene where Pope Innocent III is in deep thought then the icon of Christ behind him slowly appearing in the scene! Brilliant! Watch it! This movie will truly inspire you!

I am a member of the Secular Franciscan Order (formerly the Third Order of St. Francis)and a teacher of Theology in a Catholic middle school. I have used this film in class for years and it never ceases to amaze me how moved the students often are.

There are a number of historical inaccuracies, but the film is VERY true to the spirit of "the little poor man of Assisi". While it, hopefully, will make people pick up one of the numerous biographies of Francis (and even some of his own writings), the film forms a beautiful meditation on this spoiled rich kid who, after experiencing the futility of war and wealth and the striving after power, as well as the crushing abuse of the poor and outcast, embraces the poor Jesus (whom he finds in the the person of the leper and discarded), literally stipping himself of all that would hinder him in his following after Jesus Christ. Then, with nothing but the gospel to guide him, Francis experiences the joy and freedom all human beings desire, a freedom, not FROM anything, but a freedom FOR something, the freedom to be what we were created to be: children of God.

In a world where happiness is sought after with credit cards and bank accounts, where a person's worth is based more on what they do rather than who they are, where the poor are still looked down upon and religion is often relegated to simply a private matter that should have little or no impact on society at large, perhaps we need the example of Francis more than ever. And perhaps we should take up the poem, "The Canticle of Brother Sun", from which the film takes its title, and begin to realize that, if we wish to see the face of God, we simple have to look at the world and people around us, for God is never farther from us than the flowers, animals, and fellow human beings with whom we share Sister Earth.

The review by Tom Keogh at the beginning of these reviews was really mistaken( in my humble opinion)and does not see the hidden jewels beneath the suface of this very homely appearing object. The performance by Graham Faulkner is one example as it is a lucid, careful effort with a truly unique Franciscan understanding of simplicity and compassion. A really unguarded "childlike" innocence. I really hate to sound uncharitable to our friend Tom but for goodness sake! . I remember when I saw this film at a theatre in the spring of 1973 I was with a group of friends who scoffed and joked at the naivite of it. Outside a young man approached us and said that he had recently talked with Franco Zefferelli and that he had made this movie " from his heart". This young man was brimming with quiet good will and charity and this really struck me(and at that time I easily ridiculed all such non-sense as I then saw it). I too had really been moved by the film and this young person moved me too. My friends howled and scoffed at him(we were very young, all knowing, very clever Theatre students consumed by externals) but I refused to join in and told my friends that they were mistaken and misguided in their behavior and most of them scoffed at me too. Later one of them told me that she too knew where I was coming from and this too moved me. I mark this moment as when I really began to take a deeper interest in things spiritual and have continued to love St Francis and have read much about him and try to emmulate( as best I can ) his example hard though it is! One Book I highly reccommend and long out of print is St Francis of Assisi by Leonard Von Matt and Walter Hausen(Regency 1956). It has wonderous black and white photographs of Assisi with a simple narrative of his life. It might be got through Amazon or Bookfinder.com
This is a unique movie and for all it's supposed flaws(which I myself do not allow)captures the essence of the best of mystical understanding (of which please God I am no expert): it's simplicity, depth, and love for all things uneqivocally.

Several of these reviewers just don't get it. I'm an orthodox Catholic and a Secular Franciscan. Having done some research on this movie I know a little bit about Franco Zefferelli's intentions. Sure Francis starts out looking just like a 60s hippie and nature mystic. But that is the audience Zeferelli wanted to speak to. But as you watch the film you realize that, little by little, he tightens the reigns and leads the viewer back to the Church. Sure, there is evidence of wolves in sheep's clothing in the Catholic Church. But isn't that the way it always has been? Wasn't there a Judas even among Christ's own inner circle? But more importantly, without giving away too much of the plot, the papacy and the Church are finally vindicated in this film. Imagine Obi Wan Kenobi as the Pope! And, yes, there is some nudity, a rear view of Francis, based on a historical event. The director here, I think, wishes to show Francis' return to an Adam-like state before the fall. The problem is ours, not Francis'. So, yes, as a Secular Franciscan and a conservative orthodox Catholic I highly recommend this film. Don't let the director's strategy fool you. This movie is a great classic.