Whenever I touch the theme of biopics about the lives of saints, I am placed in a particularly difficult situation how to evaluate such movies justly. No movie, no book, no work of man is able to fully depict the life of a saint without simplifications. However, situation turns even worse with "Il Poverello" of Assisi, the Man who became the icon of the crucified Jesus, a humble servant of Lord's peace and goodness, a phenomenon for Middle Ages and for all subsequent centuries. And here we have FRANCESCO GIULLARE DI DIO, the oldest film about Francesco still available and, at the same time, the most special one - black and white with no modern music, no linear content, no severe pain or tears. Moreover, it does not contain much biography... So is Rossellini's film worth analyzing as a Francesco's biopic?
It appears that FRANCESCO GIULLARE DI DIO is a totally different Francesco movie, hardly a biopic since it consists of 10 vignettes which, except for characters, usually have nothing in common with each other. It seems that the most important aim for Rossellini was to show the core of Franciscan spirit. As a Neorealist, Rossellini does not become preachy but shows the reality as it was. On the one hand, it is "godly madness" that drives a group of brethren to reject all possessions (sometimes even clothes) and live like birds in the sky who need only a little piece of bread to live and soar into heavens. Therefore, some vignettes may seem pretty "ridiculous" for some viewers and hard to transform into today's world view. You must really know both Franciscan Spirit and Medieval Spirit to understand the content of the movie. On the other hand, it is an artistic, truly beautiful and profound depiction of some biographical events as well as additional fictitious ones. This is the aspect that occurs meaningful for Middle Ages and still for modern times. What is a perfect joy for man? What does it mean to be a Christian? What is love?
But the fact that the movie is not a biopic is proved by the main character. Since Rossellini's movie is based on famous FLOWERS OF ST FRANCIS, the focus is put not so much on Francesco himself but on Brother Juniper who reflects the most rigid and childlike aspect of Franciscan spirit. He is the "Jester of God", the one ready to give everything, even his clothes, to the poor. He is the one who cuts off the leg of a pig in order to help an ill brother in his suffering. It is him who preaches the Gospel to warriors and barbarians. But it does not mean that there is no emphasis on Francis himself.
As far as the vignettes are concerned, or more specifically scenes, there are three most memorable ones all to do with Francesco: prayer among singing birds, kissing a leper, final departure to preach. They resemble the fundamental aspects of the spirit: love to God, people and all His creatures, obedience and sacrifice. Francesco gives a leper (who symbolizes the rejected part of society) a kiss of brotherly love, the kiss of peace and the kiss of acceptance. The moment is preceded by Francesco's prayer of request: "Lord, my everything, help me love you in my brothers" and followed by the prayer of gratitude "Oh Omnipotent God! God of Glory!" As a result, we get a full image of a good deed totally inspired by the love to God. Memorable final setting out is a wonderful tribute to childlike inspirations... Where the simple activity directs the brethren, there they find God's will, there they go to spread Pax et Bonum.
What I also like in the movie are profound symbols galore that, except for Zeffirelli's film, cannot be found elsewhere. Heavy rain as purification, journey as life, nakedness as human spirit, children as peace and simplicity, visit as goodness, lamb's silence as humility. These are not that easy to interpret at once and of course, I don't treat my interpretations as most accurate. They are all exposed to correction. Those are, nevertheless, the thoughts I had whilst my second viewing of the film.
As far as performances are concerned, there is another phenomenon and rarity with FRANCESCO GIULLARE DI DIO. Most of the cast are not only non professionals but real monks from Nocere Inferiore Monastery in Rome. The monks are most naturally willing to depict the life of their Father Francis. They do wonderful jobs and take their tasks very seriously as humble jesters of God and His Kingdom. I also praise Rossellini for depicting St Clare the way he does. She is the Clare of the frescoes, the Clare of purity, the Clare of true female greatness. Moreover, a cast worth attention is Aldo Fabrizi as cruel tyrant Nicolaio. His facial expressions while attempting to break down Brother Juniper are marvelously funny and unforgettable.
At the end of my review, I'd like to leave my reflections a bit open similarly as I have been doing it in other reviews on the Poverello films. FRANCESCO GIULLARE DI DIO like BROTHER SUN SISTER MOON (1972) or FRANCESCO (1989, 2002) also has something precious to offer to a modern viewer. If you asked me if it tries to convert someone to a particular faith or denomination, I'd tell you my honest "NO" It's no crusader of religion supplied with weapons... Humble happiness, peace of heart, love to nature, spiritual awakening, goodness...these are the instruments of a new world, a new Royalty of the movie's spirit. Do you know them? Do you cherish them? Do you strive for them? If you really do, FRANCESCO GIULLARE DI DIO is another must have worth seeking out! 8/10
It appears that FRANCESCO GIULLARE DI DIO is a totally different Francesco movie, hardly a biopic since it consists of 10 vignettes which, except for characters, usually have nothing in common with each other. It seems that the most important aim for Rossellini was to show the core of Franciscan spirit. As a Neorealist, Rossellini does not become preachy but shows the reality as it was. On the one hand, it is "godly madness" that drives a group of brethren to reject all possessions (sometimes even clothes) and live like birds in the sky who need only a little piece of bread to live and soar into heavens. Therefore, some vignettes may seem pretty "ridiculous" for some viewers and hard to transform into today's world view. You must really know both Franciscan Spirit and Medieval Spirit to understand the content of the movie. On the other hand, it is an artistic, truly beautiful and profound depiction of some biographical events as well as additional fictitious ones. This is the aspect that occurs meaningful for Middle Ages and still for modern times. What is a perfect joy for man? What does it mean to be a Christian? What is love?
But the fact that the movie is not a biopic is proved by the main character. Since Rossellini's movie is based on famous FLOWERS OF ST FRANCIS, the focus is put not so much on Francesco himself but on Brother Juniper who reflects the most rigid and childlike aspect of Franciscan spirit. He is the "Jester of God", the one ready to give everything, even his clothes, to the poor. He is the one who cuts off the leg of a pig in order to help an ill brother in his suffering. It is him who preaches the Gospel to warriors and barbarians. But it does not mean that there is no emphasis on Francis himself.
As far as the vignettes are concerned, or more specifically scenes, there are three most memorable ones all to do with Francesco: prayer among singing birds, kissing a leper, final departure to preach. They resemble the fundamental aspects of the spirit: love to God, people and all His creatures, obedience and sacrifice. Francesco gives a leper (who symbolizes the rejected part of society) a kiss of brotherly love, the kiss of peace and the kiss of acceptance. The moment is preceded by Francesco's prayer of request: "Lord, my everything, help me love you in my brothers" and followed by the prayer of gratitude "Oh Omnipotent God! God of Glory!" As a result, we get a full image of a good deed totally inspired by the love to God. Memorable final setting out is a wonderful tribute to childlike inspirations... Where the simple activity directs the brethren, there they find God's will, there they go to spread Pax et Bonum.
What I also like in the movie are profound symbols galore that, except for Zeffirelli's film, cannot be found elsewhere. Heavy rain as purification, journey as life, nakedness as human spirit, children as peace and simplicity, visit as goodness, lamb's silence as humility. These are not that easy to interpret at once and of course, I don't treat my interpretations as most accurate. They are all exposed to correction. Those are, nevertheless, the thoughts I had whilst my second viewing of the film.
As far as performances are concerned, there is another phenomenon and rarity with FRANCESCO GIULLARE DI DIO. Most of the cast are not only non professionals but real monks from Nocere Inferiore Monastery in Rome. The monks are most naturally willing to depict the life of their Father Francis. They do wonderful jobs and take their tasks very seriously as humble jesters of God and His Kingdom. I also praise Rossellini for depicting St Clare the way he does. She is the Clare of the frescoes, the Clare of purity, the Clare of true female greatness. Moreover, a cast worth attention is Aldo Fabrizi as cruel tyrant Nicolaio. His facial expressions while attempting to break down Brother Juniper are marvelously funny and unforgettable.
At the end of my review, I'd like to leave my reflections a bit open similarly as I have been doing it in other reviews on the Poverello films. FRANCESCO GIULLARE DI DIO like BROTHER SUN SISTER MOON (1972) or FRANCESCO (1989, 2002) also has something precious to offer to a modern viewer. If you asked me if it tries to convert someone to a particular faith or denomination, I'd tell you my honest "NO" It's no crusader of religion supplied with weapons... Humble happiness, peace of heart, love to nature, spiritual awakening, goodness...these are the instruments of a new world, a new Royalty of the movie's spirit. Do you know them? Do you cherish them? Do you strive for them? If you really do, FRANCESCO GIULLARE DI DIO is another must have worth seeking out! 8/10