Brother Sun, Sister Moon is a fanciful retelling of the early life of St. Francis of Assisi as conceived by Franco Zeffirelli. As with all of Zeffirelli’s work, it’s beautifully filmed, but this movie contains a number of “conceptual” shots that attempt to bring Francis’s divine revelations to the viewer in a way which may not work for everyone. Also, if you are the sort who likes to have everything explained at some point in a story, you’re probably going to be frustrated.
The movie opens with the young Francis returning from a bloody, traumatic war and being nursed back to health in his father’s house. During his recovery he has terrible visions and finally, a spiritual revelation which causes him to crawl out his window onto the adjacent roof chasing after a little bird, much to the amusement of the neighbors and the consternation of his family. After his recovery, Francis spends a lot of time wandering around agog at the wonders of nature and ignoring his responsibilities as the son of a rich merchant.
One day, in a bout of ascetic fervor, he hurls bolts of expensive fabric out the window of his father’s shop, exhorting onlookers to turn from the temptations of the material world (and is mostly ignored by the delighted townsfolk). He then appears before the local authorities, uttering a passionate speech about spiritual riches before doffing all of his rich clothing and abandoning the town and his family forever.
The film then follows Francis as he struggles, first alone and then with like-minded brethren, to live a life of poverty, chastity and prayer. Along the way he meets the future St. Clare, a girl from the town who is kind and brave enough to give bread to the local lepers. Eventually Clare becomes a nun and joins Francis in his efforts, living alongside the brethren and sharing in their difficult life as they strive to rebuild an abandoned church in the countryside for the people.
Perhaps one of the most striking scenes in the entire film occurs when Francis’s completed church is finally open for Mass and is filled with peasants who are clearly in awe of the poor brothers and their humble yet hard-won gift. Meanwhile, the town’s wealthy nobles and merchants gaze around disgruntledly at their own richly decorated and empty church. The spectacular and often grotesque wealth of various churchmen of the time is portrayed in the film via elaborate costumes, which one of my housemates asserted are historically accurate — massive heavy velvet and brocade robes, incredibly uncomfortable-looking standing collars, and giant, bejeweled velvet letters hanging on chains around the neck, like medieval rap stars.
Francis’s struggle to convince the Church that he is in earnest continues through the second half of the film, culminating in a visit to the Pope, where the marked contrast between the barefoot, threadbare monks and the obscenely overdressed cardinals and bishops is most apparent. Alec Guiness (before he was “Sir”) portrays Pope Innocent III with admirable gravity. Although the exchange between Francis and Innocent as portrayed is completely fanciful, it is a matter of historical record that the Pope did indeed meet with Francis and eventually gave his approval to the fledgling mendicant order. However, no mention is made of the dream Innocent III is attested to have had prior to Francis’s audience with him, which would have added considerably to the story, in my opinion.
Since much of the film is wordless it is sometimes hard to follow, and one must pay close attention to the dialogue to be able to understand what’s going on. Knowledge of the actual facts of Francis’s life will probably have some viewers snickering or scoffing. Because this film was made in 1973, it was evidently somewhat influenced by the hippie movement, and perhaps even targeted to same — it’s also got music composed and performed by Donovan, including the title song. The back of the DVD even says that Francis was “history’s first ‘drop-out.’” Far out, man!
If you’re looking for an accurate historical account of the early lives of St. Francis and St. Clare, this is not the movie for you. Nor is it a scathing indictment of the wealthy Catholic Church; religious dogma does not play a strong role in the narrative at all. Its real value lies in being a lush and artistic (but admittedly not very realistic) portrayal of a god-touched person driven by faith and love of nature to consciously turn away from all that he knows and follow his vision of a spiritually rich life. Because of that, it has potential appeal for monastics of many faiths.
Brother Sun, Sister Moon
Starring Graham Faulkner, Judi Bowker and Alec Guinness as Pope Innocent III
Written by Franco Zeffirelli and Lina Wertmüller
Directed by Franco Zeffirelli
Paramount Pictures, 1973


