Fluentiama Perfect cast and a good story

JinRoz For all the hype it got I was expecting a lot more!

Tayyab Torres Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

partho_de1 I was looking for a movie on the life of St. Francis and not sure what to expect from this. It turned out to be a very well produced movie. There was lovely continuity right through. The emotions were very finely portrayed by the director. This is a deeply spiritual movie which focuses on the bright side and leaves one with a feeling of well being. It covers a wide span of the life of St Francis. Together with movies such as 'Flowers of St Francis'(this focuses on the lives of the St Francis brotherhood) and Marcelino, we get a wonderful idea about St Francis and the monks of his order. Dolores Hart acted the part of Sister Claire very well. Full marks to Michal Curtiz for such an excellent production. 10 on 10!

Marcin Kukuczka "A gift from your heart Love for those who have no love, Peace for those who have no peace, PAX ET BONUM" (the words of a beggar that lead Francis' heart to conversion) Encountering many biopics of saint Francis of Assisi, nobody should skip the one by the famous director of CASABLANCA Michael Curtiz titled FRANCIS OF ASSISI. What surprised me in this film was the way the movie begins: credits composed within the images of Giotto frescoes, a work of art in the Assisi Basilica which have depicted the life of the saint for many generations. And one can begin to expect something of a great job. But, as I went on watching the movie, I noticed the fact there is something missing in it. Since FRANCIS OF ASSISI is purely a biopic, it seems to be the question "Is it possible to show the rich life of the Poverello in 105 minutes?;" but, moreover, one can deduce that all goes so fast as if the producers packed biographical facts one after another... Yet... ...it would be very unjust to treat this film from today's perspective. We have to realize that the film was made by Americans at a certain point in movie history when colossal epics were being made and occurred blockbusters at the box office. Producers concentrated much more on high camp production than on the message a film would convey. However, if we get closer to the gist of whose life the biopic is about, we realize that Saint Francis, the poorest of the poor, deserves something different than that. When watching FRANCIS OF ASSISI by Michael Curtiz, we do not find Francis "politically incorrect" with the social and ecclesiastical system of the time, we do not find him reject his possessions, we do not find him totally filled with the spirit of the Gospel nor so much a radical follower of Jesus Crucified. It does not mean that there is no spirit in the movie; it does mean, however, that there is hardly any "Franciscan spirit" That is, with some exceptions, combined with biographical aspects highlighted. Bernardo Quintavalle is an old man who offers financial help in rebuilding the church of Porziuncola; Francis' farewell to his parents is rather filled with "compromise" than the radical "no" to wealth and the "loveless toys we fill our days with" as it was nicely put in the screenplay of Zeffirelli's production (1972). Clare is rather a calm lady of aristocracy than a youthful girl in love with the example of the friars. As a matter of fact, Clare was much younger than Francis and could not visit aristocratic banquets merely as a child. Other errors could be enumerated but that is, I think, not the gist here.To be more objective with the movie, I would like to concentrate on these "exceptions" contain foremost single moments. First, it is surely the scene I quoted at the beginning when we see Francis leaving the tavern and, symbolically, his life of earthly pleasures and wandering the streets of Assisi. There, he notices a procession with the Cross of our Lord and while gazing at Crucified Jesus, a beggar tells him the words I mentioned at the beginning... pretty powerful scene! I liked the idea of focusing on PAX ET BONUM message, the key one for Franciscans. Unfortunately, it is little developed in the content later on. Another strong moment of the movie is the execution of stigmata saint Francis received from the Lord in September 1224. Although some people may have doubts as for the depiction of suffering, generally the scene is worth a look as a more "traditional" interpretation than the one by Liliana Cavani in 1989 movie. Finally, it is important to mention the fact that FRANCIS OF ASSISI is the only film, so far, which shows Francis' memorable visit at the sultan's and does it in a pretty convincing manner (mind you: by "convincing" I do not mean stunning).As far as performances are concerned, one can say there is much to be desired, particularly when concerning casting certain people. Dolores Hart is not bad as Clare, but as I have already said, rather a calm lady than an enthusiastic young female saint. Her personal biography later made this role, perhaps, more authentic as she became a nun. Bradford Dillman lacks the "godly madness" in the main role. All he portrays is just a seemingly unconvincing conversion from an easy going young man to a pious man of God. Finlay Currie, the mainstay of the genre, is not bad as Pope Innocent III but I do not think that he does equally good a job as in his other portrayals. Francis' parents (Eduard Franz and Athene Seyler) are far too old for the roles and, therefore, Pietro Bernardone appears to be too enigmatic.All in all, what could I say in a nutshell about the film? More FRANCIS than FRANCESCO, more an Anglo-Saxon man of reasonable faith than the Umbrian Poverello of emotional belief. Perhaps, it is sad to say but FRANCIS OF ASSISI is the least convincing film about the saint so far among the several biopics. However, I would never call it a "failure"...no failure at least for the sake of message and final moment.The scene of Clare's tribute and Francis' funeral leaves a visual effect in the viewer. PAX ET BONUM written in the red sky of setting sun just above the body of the poorest among the poor and birds chirping last farewell to their heartfelt preacher seem to link heavens with earth in the tedious spiritual pilgrimage of human hearts...

Poseidon-3 The road to movie dullness is paved with good intentions. The captivating story of a 12th century man who embraced Jesus' teachings of poverty and aid to the poor and the sick is given a reverent, but sometimes tiresome treatment here. It also manages to either skip or gloss over several of the more striking facts of the real story! Dillman is the wealthy son of a successful merchant who begins to hear a voice in his head, urging him to forsake his worldly possessions and rebuild the church. When he also forsakes his commission in the military, he is placed under arrest in a dungeon! Eventually, through the intervention of his female friend Hart, he is released by his former comrade in arms Whitman. He then begs in the street for stones and begins to build a church, eventually amassing 10 followers who help him with his work. They travel on foot to Rome where eventually they receive the Pope's blessing and before long, Dillman has hundreds and hundreds of devotees following his practices. Hart even becomes a nun as a result of his example. One of his travels takes him to the desert where he comes face-to-face with Sultan Armendariz who almost causes him to undergo a trial by fire. As he ages, he loses most of his vision and begins to deteriorate, but not before founding an order that lived on and lives on today. Dillman does pretty well as the title character, offering up the type of beatific arrogance that not everyone can master. It's a role not completely dissimilar from that of Tom Tryon's in "The Cardinal" and one could see the men switching roles with relative ease. Hart, who later became a devoted and successful nun in real life, gives a solid performance. She is to be credited, especially in 1961, for completely eliminating any beautifying makeup during her scenes in a habit. Whitman, who was dabbling in cloak and sword films during this era, is handsome, but out of place. His accent is so contemporary (along with his hair) and his character (fictional) is too coincidentally tied to Dillman's in several ways for him to be all that believable. He does, however, have one decent scene near the end. An impressive assortment of esteemed veterans round out the cast. Kellaway plays a cardinal interested in Dillman's work, Franz is Dillman's difficult-to-please father, Currie plays a downright ancient Pope (as can be the case!) and Armendariz has a decent cameo as the Sultan. The film is luxurious in many respects, with striking costumes, splendid scenery, detailed settings and so on, but too many things keep it from realizing epic status. For one thing, the story is trotted out in an almost comic book or Disney fashion. It's very episodic and some of the episodes are a tad too cutesy, such as when Dillman blesses all the neighborhood animals. Then there's the uproarious moment when Dillman enters a leper colony and listens to this howler of a piece of dialogue: "I don't want your peace. I wanna get rid of my stink!" Dillman should have gotten a nomination just for keeping a straight face through that one. Oh, and don't miss the unfortunately staged scene in which Johns, as a sweet, simple-minded follower of Dillman, comes to fetch him and as he's in profile, an extra in the background is flexing his arm right at John's crotch level, providing an hysterical, unintentional sight gag! The film opens with shots of frescoes while the impressive ooh and ahh music soars. Unfortunately, almost every single scene opens with a variation on the same nine-note melody until it becomes not only predictable, but almost laughable. All Hollywood films change the details to make a film more entertaining or to broaden it's appeal, but the introduction of a standard (and predictable) love triangle between Dillman, Hart and Whitman was a mistake (not to mention possibly in poor taste!) Fascinating tidbits from the Saint's real life don't make the cut, such as when he was shipwrecked on the Dalmatian coast or when the Crusaders in Damietta wanted to slay him as a heretic and the Sultan saved his life. The stigmata is barely suggested. Also, oddly, the man was known to avoid walking sticks and sandals, yet the film shows him with both and even has Hart gifting (!) him a new pair of sandals! It's not a bad film, it's just a bit hampered by too many concessions and conventions, possibly by a director who was too set in his ways.

Philip Tan-Gatue This is the film that introduced me to St. Francis of Assisi (alongside marvel comics' 1982 adaptation of his life). While several historical inaccuracies are present (Francis is referred to as "Father Francis" once, yet St. Francis was never ordained priest in real life, for example), this is a good film to show to people if your purpose is to introduce them to the saint. Unfortunately, the film does come out like a Disney film, with all the colors and dialogue. Hardly present at all is the tension between Francis and his father Pietro. Omitted is the very important event when St. Francis returns ALL his property and clothes to his father and declares, "no longer shall i call you my father, but I shall only say, our Father who art in heaven." - a beautifully done scene in Brother Sun, Sister Moon ten years later. On the good side, it focuses on the supernatural - miracles, God speaking to Francis. This is good because other films tend to make us forget that this is the life of a SAINT, after all. All in all, a great movie. There should be more films like this to change others' lives.