The Flowers of St. Francis (1950) User Reviews

Promotes compassion for the poor

[howard.schumann · 8/10 · 17 July 2006]

The Criterion DVD release of Rossellini's Flowers of St. Francis offers a fully restored version in high contrast black and white of the long unavailable 1950 film, considered one of Rossellini's finest. It is interesting that two of the finest films about religion, The Gospel According to St, Matthew and Flowers of St. Francis, were directed by avowed atheists, (Pier Paolo Pasolini and Roberto Rossellini), both capturing, through non-professional acting and neo-realist technique, a sense of purity and poetry missing in the heavy-handed message of newer religious films. Unlike Pasolini, however, Rossellini's film does not contain peak dramatic moments or even a linear narrative.

It is a series of vignettes that does not attempt a history of the period or a biography of St. Francis of Assisi as did the woeful Brother Sun, Sister Moon by Zefferelli. Rather it shows Francis, a 13th century monk who founded the order known as the Franciscan Friars and his followers (particularly brother Ginepro) in easy going and often light-hearted fashion going about their daily life with devotion and humility before God. While I do not subscribe to the idea that allegiance to God requires extreme self-denial, the film is persuasive in showing the simple compassion of the Friars and how it changed the lives of the people around them, although the line between simple and simple-minded as depicted by Rossellini is often tenuous.

Flowers does not attempt to bludgeon us with a point of view, but suggests by example that there is an alternative way to live our lives that does not involve ego and greed. The episodes illustrate different aspects of Franciscan life, all introduced by intertitles. In the first, the brothers seek to find shelter in a pouring rain in a little hut they have built in the woods near Assisi. When they arrive, they discover that a farmer has appropriated the hut with his donkey and refuses to let the brothers in. Francis responds by telling his followers, "Have we not now reason to rejoice? Providence has made us useful to others." In another episodes, Ginepro cuts off a pig's foot for a meal requested by a hungry ailing brother. Unfortunately, no one questions what brother pig thinks about his leg being sacrificed and the episode left me feeling queasy.

In other sequences, the Friars prepare a rebuilt chapel to receive Sister Chiara, Francis meets a leper during his walk and embraces him in a childlike, loving manner, and Ginepro is provided lessons on how actions rather than words win souls for God. In one of the later sequences played mostly for laughs but with a potent message, Ginepro is in danger of losing his life to a group of bandits led by the corpulent Nicolaio until the power of faith rules the day. Flowers of St. Francis presents an idealized version of a "pure" form of Christianity and promotes love, humility, and compassion for the poor. While the film is a welcome antidote to the cynicism and despair common in films these days, ultimately it leaves the viewer to decide whether or not excessive missionary zeal practiced by those who are convinced they alone have the true faith has been a positive or negative force throughout history.

Take a quiet, meditative walk with St. Francis

[blakeslee · 8/10 · 26 August 2005]

The film is a series of vignettes depicting the monks in various encounters with each other and locals in the surrounding countryside. Each scene has a point, but the "lessons" are imparted with grace, subtlety and tranquil ease. Watching this film is a very calming, quiet experience. Other than the dialogue of the brothers (in Italian), what one hears most of the time in the soundtrack is the sound of chirping birds and falling water. Not a film that everyone will enjoy but if the idea of following humble, simple monks around the medieval countryside appeals to you at all, I recommend this DVD highly. Considering that this movie was released just five years after the end of WWII, perhaps it was an attempt to remind Italians and Europeans in general of this long-departed but timeless advocate of peace and non-violence.

Religious movie about St Francis proceed in simplicity and realism

[ma-cortes · 7/10 · 11 December 2008]

This is an enjoyable adaptation about Saint Francis (1182-1226) by Roberto Rosselini. Set in 13th century and depicting various episodes about his existence , these are the followings : 1) How Fray Junipero appears naked after give out his soutane to a poor 2 )How the old John abandons his family , follows and imitates St. Francis 3)Concerning the marvelous encounter between St Clare and St Francis 4)How Fray Junipero cut a pig's foot and gave it a sick person 5)How St Francis found a leper into the night 6) How Fray Junipero was condemned to death but his humility vanquished tyrant Nicolas (Aldo Fabrizi) 7) How St Francis and Father Lion experimented the perfect mirth 8) How St Francis came out from St. Mary of Angels to evangelize for around the world .

The motion picture is an agreeable portrayal on known Saint well played by Pino Locci and secondary intervention by Aldo Fabrizi as an armored villain in the best chapter . The roles of St. Francis and his disciples were played by monks from the Nocere Inferiore monastery . Rather than shooting on stage, they shot on locations and quite often used non professional actors. Most of the performers in the film, with exception of Aldo Fabrizi, are real Franciscian monks . "The Flowers of St. Francis" was edited for its 1952 US release, with Rossellini's chapter-like inter titles and a couple of scenes removed from the original Italian version . Evocative black and white cinematography by Otello Martelli and atmospheric musical score by Renzo Rosselini. Interesting screenplay by Rosselini , Brunello Rondi and participated the prestigious Federico Fellini . The picture is original and imaginatively directed by Roberto Rosselini who was one of a group of pioneering film makers of the neo-realist era . An excellent film-making for sympathy , simple way and brief touches of humor.

The film retrieves partially deeds about his life . The real events are the followings : Francis was son of a wealthy merchant , but he leaves his lush existence and he dedicates to help unfortunates , hapless and poor people . He suffers starvation , famine, and is taken prisoner during war among Italian cities , Perugia , Venice and Assis . Francis founds the Franciscan Order of monks , approved by Pope Innocence III (1210) and receiving his blessing . He's followed by St Clare as devote disciple , founding the Clarisan order of nuns (1212) . Francesco imposes a rigid rules of life and his thoughts were included in ¨Singing to brother sun or the Creatures¨ where he praises the poverty , joy and nature love and ¨The flowers of St. Francis¨ .

Other versions about the most famous Saint are : Hollywood version titled ¨Francis of Assisi¨ (60) by Michael Curtiz with Stuart Withman and Dolores Hart ; two rendition by Liliana Cavani , starred by Lou Castel and ¨Francesco¨ (1989) with Mickey Rourke and Helena Bonham Carter . And Franco Zeffireli version (1973) titled ¨Brother sun, Brither moon¨ with Alec Guinness, Judi Bowker and William Faulkner.

Priceless, Humbling Masterpiece

[Kalaman · 1 August 2003]

This is one of the most beautiful and humbling pictures I have seen. I discovered it recently along with three other Rossellinis, "India Matre Bhumi", "Fear", and "L'Amore" - all masterworks. But so far based on the first viewing, "Francesco, giullare di Dio" ranks with my absolute favorite Rossellini pictures, "Europa '51" & "The Rise of Louis XIV". From the sublime opening long shot of Franciscans arriving in Assissi to the final unforgettable moment where they all spin and fall on the ground and Rossellini's circular camera connects the earth, sky, and water in perfect harmony, "Francesco" is an authentic, invigorating piece of art.

The photography itself is a masterpiece; It has a harsh, genuine beauty and splendour: the scenes at the beginning where Franciscans are soaked in rain, or at daytime when they kiss one another and preach and start a fire, or scenes in which Brother G is brutally beaten or tortured by a tyrant, or at night time when Francesco encounters and kisses a leper are all magnificently shot.

"Francesco" is told in a series of disconnected vignettes, each documenting different daily events and experiences of the Franciscans. The vignettes are preceded by an introductory title (e.g. "How Brother G Cut the Leg of a Pig for a Sick Brother", "How Francesco Met and Kissed a Leper", etc). Although it is explicitly a religious document of St. Francis and his followers set in a bygone era, the feelings and impressions that emanate from it are timeless and universal.

It is the sort of picture that makes you feel alive or buoyant about life and humanity. "Francesco" is one of my absolute favorite films, a truly humbling masterpiece from one of cinema's great film artists.

Neglected Masterpiece

[wjfickling · 10/10 · 27 October 2001]

Unfortunately, this is not an easy film to see. It is not available on video, and it is rarely if ever shown in commercial theaters, not even art houses. I was fortunate enough to see it at a local museum's Italian film series.

This film is exquisitely photographed and beautifully acted, mostly by non-professionals. It's depiction of Francis and his followers make the practice of Christianity seem almost zenlike; that is spirituality consists in being totally involved in whatever one is doing at the moment, in doing, not talking. This is such a relief from much of the pap that passes as religious film these days. See it if you can.

The most unrigid religious movie ever

[edwartell · 9/10 · 26 June 2001]

Most religious films are somber affairs, made by religious men. So Francesco, giullare di Dio is an odd religious movie. It lacks any readings from scripture, or even any quotation. It's made by Rossellini, and the title means "Francis, Jester Of God." It's a long long way from here to Diary Of A Country Priest.

We've had St. Francis movies, of course. Most (in)famous is Zeffirelli's Brother Sun, Sister Moon: St. Francis as hippie. But this was the best. It was shot more or less on location, in the Italian countryside. It stars non-professionals (of course; Rossellini was a neo-realist). Fortunately, it stars a bunch of monks as...a bunch of monks following St. Francis.

In a brisk 75 minutes, Rossellini sketches a bunch of events: St. Francis meeting a leper, a cook learning why actions win souls, not words, etc. There's little music, and, oddly, not really much time spent with St. Francis himself. He's a side character; the thing of real interest is the daily lives and lessons of the monks.

At the end, Francis sends the monks off on their own to preach. They spin in circles, fall down, and wherever their head points, that's where they go. Religion is a journey, not an urgent reason to convert others. This supremely generous and uninsistent film is surely one of the best religious films ever made, full of nature and joy.

Not a traditional biopic as you might expect

[AlsExGal · 7/10 · 23 December 2022]

The film consists of several short vignettes depicting various encounters and occurrences involving the 13th century monk Francis of Assisi, as well as his small group of followers who would go on to become the Franciscan Order. Dedicated to lives of poverty and piety, they struggle to survive while searching for the good in all things. As well as focusing on Francis (Nazario Gerardi), much time is spent on Brother Juniper/Ginapro (Severino Pisacane), known as the "Jester of God", a good-hearted but simple-minded follower of Francis.

Rossellini's Neo-Realist sensibilities continue with his casting of real Franciscan monks to play Francis and his followers. In fact, the only professional actor involved was Fabrizi, playing a vicious warlord. The script, co-written by Rossellini and Federico Fellini with some later input by a pair of Catholic priests, contains a lot of humor. The movie is both pious and light-hearted, and it rarely if ever feels like it is preaching. It's also not a traditional biopic of St. Francis, as one might expect, but rather it seeks to illuminate the man through his works and interactions with others. The film also evokes its time period well, with none of the Hollywood glamorization one usually finds with historical pieces.

Masterpiece

[zetes · 10/10 · 4 September 2005]

An odd little film, but so exhilarating that I don't think the experience will ever leave me. I can't even really say why it pleased me so much, but it's the kind of film that just makes you appreciate the beauty of the world around you. It's so gentle and miraculous. The film follows the simple life of Francis of Assisi and the friars who followed him. Born the son of a rich merchant, he practiced poverty to honor Christ. We see vignettes as they were described in the titular hagiography (no doubt adapted freely by the screenwriters, among whom was Federico Fellini). They are often beautiful and touching, but more often than not they have a tinge of comedy. In fact, you can really see Fellini's talent starting to emerge here. The style is very reminiscent of his early work. Within Rossellini's career, it eclipses probably all of his other films, many of which are admittedly fantastic (I think Stromboli, which was released near the same time, is a close second best). There's just a beauty in it. I am not Catholic and know nothing of St. Francis of Assisi, so I don't know if I'm missing anything. But to me it felt like a true celebration of humanity.

Classic Italian

[gavin6942 · 7/10 · 23 February 2017]

The film dramatizes about a dozen vignettes from the life of St. Francis and his early followers - starting with their return in the rain to Rivotorlo from Rome when the Pope blessed their Rule and ending with their dispersal to preach.

Rossellini had a strong interest in Christian values in the contemporary world. Though he was not a practicing Catholic, Rossellini loved the Church's ethical teaching, and was enchanted by religious sentiment —- things which he felt were neglected in the materialistic world. I can appreciate this. While I am also not a practicing Catholic, I was raised in the tradition and love the rich history of the Church. Though the tenets are not for me, the values are universal and it is interesting to see how they have been carried out, in this case by creating an entire Order of priests.

The look of this film is beautiful, the black and white as stark and striking as the best Scandinavian films. In the era of the neo-realist Italian film, this really has the perfected look, and can be enjoyed both for its great storytelling and just its glorious imagery.

Beautiful, powerful and enigmatic take on the Franciscan faith

[tomgillespie2002 · 10/10 · 16 May 2011]

Heralded as "the most beautiful film in the world" by Francois Truffaut, and "amongst the most beautiful in Italian cinema" by Pier Paolo Pasolini, Roberto Rossellini's landmark work was actually poorly received upon release. It is based on two books - Little Flowers Of St. Francis, a 14 century piece of literature, and The Life Of Brother Juniper, which both focus on the work of St. Francis and the early Franciscans. The former is composed of 78 chapters which, rather than tell one overarching story, focuses on small stories and incidents which sum up the ideals and attitudes of the Franciscans. Rossellini adopts the same approach, albeit in only 9 chapters, each with an introductory title card.

St. Francis (played by an uncredited real-life monk Brother Nazario Gerardi) lives with his fellow Franciscans in poverty, working what they can from the land and giving as much as they can to the poor and needy. It is a belief that has elevated St. Francis into such a popular religious figure, as his philosophy was that those who lived the most difficult of lives would be the closest the God. Among the nine stories that are told, they range in purpose and tone. Some of the greatest are Francesco accepting a half-crazy old man with open arms into the Franciscan order, one of the monks unwittingly stumbling upon an army only to be sentenced to death and then powerfully overthrowing a ruthless general, and Francesco's encounter with a leper, a scene which I will discuss in a bit more detail shortly.

Although not a practising Catholic himself, directed Roberto Rossellini fell in love with the sentimental teachings of faith, which seemingly had no place in the increasingly corporate and money-loving world. It made me fall in love with the idea. I'm not religious either, but the way the Franciscans are portrayed here, almost as poor farmers who are happy to give away as much as they earn, it made me almost warm to religion. It doesn't try to preach and instead delivers its message on a smaller scale. The monks preach with love and generosity.

The film was summed up in the scene where Francesco, out in a field alone late at night, cries as his love for God overcomes him. He is awoken from his prayers by the sound of clanging bells. As he checks out the noise, he sees a lone traveller in the field. As the traveller turns to face Francesco, we see he is a leper; his face rotting and disfigured, and his body hunched. Francesco approaches him and starts to kiss the man, in awe of his suffering. Even though the leper repeatedly pulls away from Francesco, he keeps following him. Eventually, Francesco embraces the leper and lets him go on his way. It is quite possible the most powerful scene I have ever scene in film history. Initially quite shocking when we first see the face of the leper, Francesco's pursuit and eventual embrace is such a profound sentiment.

Co-written by Italian master Federico Fellini, the film maintains its neo-realistic tones while managing something more prophetic and dreamlike. It feels like you are there with Francesco, being preached to, and living amongst the colourful characters in the beautiful location where the Franciscans have settled. It manages to squeeze so much beauty and power, along with some touching comic moments, into a slim running time that never feels short, and doesn't suffer for it.

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Catholic neorealism

[darioilg · 6/10 · 8 January 2017]

Roberto Rossellini's "Francesco, giullare di Dio" is a strongly flawed, yet authentic look at the most beloved saint in Italy. As part of a propaganda project schemed by Giulio Andreotti and Felix Morlion (who worked on the script), the film shows us brief sections of the lives of Francis and his disciples as narrated in the Fioretti, but the usual rough feel of Neorealism is stained by an exasperating pace, awful performances (except for Giovanni il Semplice, whom I found brilliantly hilarious), even by the great Aldo Fabrizi, who plays an unbearable parody of himself, and mild dialogues. Fortunately, Rossellini's impactfully dirty cinematography and an ecstatic soundtrack make this movie worth watching, although with a lot of yawning all the way through.

Sublime touch of Franciscan simplicity

[marcin_kukuczka · 8/10 · 6 January 2008]

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

today may be his Feast Day, but some parts did come across as just a little silly

[lee_eisenberg · 7/10 · 4 October 2007]

Having just seen Roberto Rossellini's "Francesco, giullare di Dio" (called "The Flowers of St. Francis" in English), I was surprised to find out that October 4 is his Feast Day. While I'll say that a lot of good work clearly went into the movie, I also have to say that it comes across as a little bit silly at times.

First, there's the entire sequence where they deal with tyrant Nicolaio. Nicolaio's followers - all looking like cavemen - basically play Keep The Brother Off Of The Ground when our protagonist arrives. But when we meet Nicolaio himself...it looks as if Yosemite Sam's head is sticking out of a mass of armor. Did Rossellini really intend for any scenes to look like that?! And the whole part about cutting off the pig's foot. I don't know what led the guy to believe that any pig would willingly give up one of its feet. Couldn't he have figured out that a pig probably wouldn't understand why a human would want its foot?! If anything, the friar was the real pig in that chapter.

OK, so many people will very likely take offense at my not taking this movie as seriously as Rossellini intended. Maybe the recent revelations that Mother Teresa had doubts about her own faith have made it seem less likely that St. Francis was that obsessed with his life as a friar. I should identify that I would recommend this movie, but would add that I interpreted some scenes as kind of silly (due in part to the overacting). Worth seeing, but just know what you're getting into.

Not one for your average film-goer

[andrew-hickson-1 · 1/10 · 28 September 2006]

I watched this recently on DVD and nodded off before the end. I have no doubt the artistically-minded will be up in arms but to be honest this is not really a film. A film should provide at least a semblance of entertainment, whether in action, photography, dialogue or story. The cast seems to be assembled from actual monks & country peasants but the naturalistic approach produces a result that looks entirely unnatural, with all the characters looking desperate to get their designated line into the dialogue. I was disappointed to waste part of my evening on this - heaven alone knows what a paying cinema audience would have made of it!

Blessed are the peacemakers

[tieman64 · 26 July 2011]

Roberto Rossellini's "The Flowers of St Francis" centres on a nomadic community of friars who are led by Francis of Assisi, a now sanctified Catholic clergyman. Rossellini co-wrote the film with Frederico Fellini, the latter director bringing a light-hearted, almost comedic touch to the material.

The film is based on two books, "The Life of Brother Juniper" and "The Little Flowers of St Francis", the latter of which is an anonymously written fourteenth century text. Like these books, the film unfolds through a series of vignettes, all of which espouse simple virtues – humility, faith, compassion, sacrifice, brotherhood, generosity, community, harmony, unconditional love etc.

Though Rossellini paints Saint Francis as a somewhat foolish character, his film does not ultimately offer a mocking portrait of the Franciscan Order. Though an atheist, Rossellini identifies with, respects and is even enamoured by the spiritual "nature" of his characters. Beyond this, Rossellini uses Francis and his wandering garden of "flowers" (the Franciscan friars) as a means of offering an indirect commentary on post war Italy. And so with his country in disarray, humiliated, and in much political turmoil, Rossellini advocates community and the importance of coming together and joining destinies in the face of hurdles and hardship. Meanwhile, out of the ashes of WW2, Italy's Christian Democratic Party was quickly forged, a "catch-all" party which promised "unity", "community" and "brotherhood" and so absorbed the country's left wing and right wing factions. The Party pretended to represent Catholic teachings, but openly brushed aside class struggle and cooperation in favour for competition and rugged individualism. The party would rule Italy for over half a century (as the only alternative to the once outlawed Italian Communist Party, it sucked up votes like a black hole), before rampant corruption charges led to it being disbanded in 1994. Rossellini's own filmography would move away from the simple "religious virtues" of "The Flowers of St Francis" to colder, more analytical investigations of why these virtues tend to "breakdown" in the real world.

Still, "The Flowers of St Francis", though somewhat naive, nevertheless represents one of Rossellini's best films. If Rossellini brings a sentimental, cosy tone to the film (he romanticises his adorable band of brothers), Fellini adds texture with his customary clownishness and moments of comedy. Consider, for example, the way the duo's script makes the point that one of St Francis' followers, Brother Ginepro, is the film's true "saint". Meanwhile, Francis hypocritically (and frequently) boasts of his own humility whilst refusing to do what his tongue preaches.

The film is lovingly shot in black and white, some of Rossellini's images conjuring up medieval paintings and Italian religious murals. Unsurprisingly, the film's cast is heavily comprised of uncredited real life monks and amateur actors. Like later neorealists (and Italian director's in general; think Pontecorvo, Pasolini and Leone), rather than conventional, trained actors, Rossellini places a bigger importance on faces and interesting facial features.

The film's emphasis on variable weather (thunderstorms, rain, sunny skies, water soaked monastic gowns etc) echoes Kurosawa's own work during this period and the film itself would prove a huge influence on Pasolini and Tarkovsky's own monastic masterpieces, "The Gospel According to St Matthew" and "Andrei Rublev".

But while an intimate film, "The Flowers of St Francis" also conveys a somewhat grander sense of eternity. Rossellini closes with a shot which locates a small group of distant friars and then pans upward into the heavens. This one shot crystallizes both man's boundless aspirations, and the power (necessity?) of art to transform flesh into legend.

In its time, "The Flowers of St Francis" was highly regarded by many other directors (Truffaut, Pasolini etc). Today it is somewhat ignored. With more born into atheism (at least in MEDC's), you'd think Rossellini's non-religious approach would curry favour, but perhaps the film is too provincial to make waves with modern audiences.

8.5/10 - Worth one viewing.

Francis of Assisi

[jotix100 · 8/10 · 27 August 2006]

Vignettes of the life of one of the most revered saints in Italy, St. Francis of Assisi, gets a surprising light account in the hands of Roberto Rossellini, one of the masters of the Italian cinema. The film was co-written by the director himself, and Federico Fellini. Two other priests contributed to the screen play.

St. Francis, a mythical figure of the XIII century, is a man that leads a handful of monks to follow him around in the Umbrian countryside doing good deeds and teaching tolerance, humility and acceptance. Francis is made to look like a benign tyrant to the men that follow him without ever questioning why he does the things he does. The emphasis of the story is showing the simple life this man led and how inspired the others.

In comparison, St. Francis legacy was an inspiration for Giotto, and some of the other great painters of that period in glorifying his memory in works that are so rich, they clearly contrast with what Francis was trying to to in the first place. All those present churches contrast so vividly with the simple abodes this saintly man and his followers lived in.

The film has an episodic feeling. Each short tale has a different feeling showing the range of this man's way of looking at life. Aldo Fabrizi plays St. Francis and some monks from the Nocera Inferiori monastery appear as his followers.

"The Flowers of St. Francis" shows a different Rossellini in a film that bears no relation with some of his other work for the cinema.

Basic neo-realistic cinematography at its best applied to express the essence of humanity

[clanciai · 10/10 · 13 February 2016]

This is the true St. Francis, in humblest simplicity and poetical basics. All other St. Francis films fall flat to this slightly comic, episodic, rhapsodic and haphazard collection of idyllic insights in the lives of the humblest of saints and his equally lovable followers. Already the first scene sets the tone, as the friars come walking home towards Assisi after having been blessed and accepted as an order by the pope, and they splosh around in the mud and the rain with their bare feet, which they keep unshod throughout the film. They are all amateurs (like in most outstanding Italian films of this period), there is hardly one professional actor, and if there is you have to look for him, but they are all perfectly convincing and couldn't have acted better in sincerity and truthfulness - it's all solid gold of human basic reality and purity.

Rossellini made himself famous with "Rome - Open City" five years earlier, which made Ingrid Bergman abandon Hollywood to instead come filming with him, and seeing this film you understand the attraction. There is no Hollywood here, no artifice, no make-believe, no stardom, no luxury and garish show-off, just simple humanity. It's a masterpiece indeed, and the question is if it's not even more outstanding as such in its very basic black and white medieval neo-realism than even the acknowledged masterpiece "Rome - Open City".

Rendering the silly side of things

[Polaris_DiB · 7/10 · 26 March 2007]

More Monty Python than Ten Commandments, "The Flowers of St Francis" by Rossellini and co-written by Fellini is a sort of joyous poke-fun at piety and sainthood. It isn't as subversive as Monty Python, though, as through all the play and silliness there is a genuine sense of respect and care for the characters.

The movie follows anecdotes from the life of St. Francis, establishing some of his famous teachings (though often making them drop) and perusing them in a humorous context. A lot is made of one of his disciples, a well-meaning but foolish man who often finds himself in compromising positions... in front of a barrel rolling down a hill, facing off a siege with a lovable cheery look, and always giving away all his clothes to beggars despite the fact that he still needs clothes.

This choice of presentation makes some of history quite questionable... was the siege raised because the disciple was so pious, or merely because he was too lovably dopey to muster the courage to kill (the actor who plays him literally looks like Dopey from the famous Disney cartoon)? Was Francis really that well-meaning or didn't he at least have a little fun with his teachings (the "Real happiness" scene)? And isn't piety just a circus of its own (the acrobatics, the attention that it brings from the poor, and so on)? In between the theatrics, the film itself is composed of silent moments and benign simplicity, as St. Francis and his disciples surround themselves with fresh country air and religious observation. Sometimes it's still made fun of, such as Francis' way of crying when he gets overwhelmed with joy, and how their idyllic life contrasts with a real world of hunger, war, and personal possessions.

--PolarisDiB

A bit episodic but still quite lovely.

[planktonrules · 8/10 · 4 August 2013]

"The Flowers of St. Francis" is a very unusual film. Instead of telling the life of St. Francis of Assisi in any traditional sense, the film is made up of several parables about him and his followers--stories that are most likely fictional. They are all meant to illustrate various lessons--such as humility, service and kindness. This makes the plot very episodic and somewhat disjoint. The film is also unusual, at least when seen today, because almost all the people in the film are non-actors. However, at the time, the Italian Neo-Realist movement (led by the likes of Rossellini and De Sica) stressed the extensive use of non-actors in natural settings--mostly because the country was bankrupt following WWII and had little other choice! But, what sets this apart is that the monks in the film are actually real monks! That is pretty amazing.

My enjoyment of this film was impaired, somewhat, by my having seen a recent documentary, "My Voyage to Italy". In it, Martin Scorsese discusses many of his favorite films. However, instead of just explaining what he likes in them or how they influenced him as a director, Scorsese goes on to explain the plots as well as the endings of many of these films! So, because he provided so many spoilers for "The Flowers of St. Francis", I didn't get nearly as much out of the film as I might have.

So is it worth your seeing it? Of course. The biggest reason is that these non-actors gave some amazing performances and the film is very artistic. It also is far less heavy-handed than most religious films. While I still would have preferred seeing the life story of St. Francis, I still did appreciate the work that went into making this lovely film. Additionally, its message of spirituality over religiosity is timeless and inspiring.

Among the best by Rossellini

[jgcorrea · 7/10 · 15 April 2023]

A relief from much of the pap that passes as religious film these days. The depiction of Francis and his followers makes the practice of Christianity seem almost Kosher-like. Spirituality consists in being totally involved in whatever one is doing, rather than talking, at the moment. Flowers of St. Francis presents an idealized version of a "pure" form of Christianity and promotes love, humility, and compassion for the poor. While the film is a welcome antidote to current cynicism and despair, it ultimately leaves us to decide whether or not excessive missionary zeal practiced by those who are convinced they alone have true faith has been a positive or negative force throughout history.

playing in the Garden of Eden

[gilleliath · 8/10 · 3 December 2019]

So much better than Hollywood's 'St Francis of Assisi', the great strength of this film is that it tries to see the people of the Middle Ages as they saw themselves: understanding that their religion was not some kind of scam, but the thing that gave meaning to their lives. Hobbled by neither plaster sanctity nor cynicism, it's the only film I've seen that captures the freshness and innocence of Medieval spirituality. Plus there's a beautiful calm and simplicity to it that you rarely find in film' partly it's down to the direction but a lot of it is the performers, some of them real-life friars.

Like the book, the Little Flowers of St Francis, there is no 'story arc', no beginning and not really an end; the saint and his followers, played by real-life friars, live in an eternal and beautiful Now.

"True progress quietly and persistently moves along without notice"-St.Francis of Assisi

[johnblanco · 10/10 · 9 January 2019]

"To wait for the unfolding of Thy will" "The Flowers of St Francis"(1950) Is perhaps the finest piece of Italian Neorealist Cinema, It is earnest & it is brutally joyous, It is my favourite film. Because its meaning escapes me, for I'm neither a Saint nor a wise man. Because the lovingly conveyed ambitions of this film lies not in technique or innovation, but what it strives for is to modestly communicate to the ever present, "silent" God. It is an elegy for a love so true and just, a love that is completely foreign to the modern soul. It is penned by a non-believer, a troubled artist, a Dominican Priest and a Franciscan Friar. All its vibrancy & childlike curiosity is in service of subtle narrative depth & to hopefully lay hold of the blissful faith of those who truly lived & died for Christ. Saint Francis & The early Franciscan Friars were portrayed by The Monks of The Nocera Inferiore Monastery, It was the Theological exercise of Cinéma vérité and the purest example of the Neorealist movement, How appropriate it is to cast men who truly live by the words of Christ, who spout their lines with such innocent informality and who's body language are awkwardly palpable. Yet, they exemplify the greatest achievement of the film, And that achievement lies within its narrative structure. A story that is designed in a way that is analogous to that of a prayer. It starts in a hopeful, pleading sentence. As it perseveres to a tone of melancholia & spiritual regret, It learns, it stumbles, It remembers the guilty & the defiled, It fails to eloquently articulate the deepest longing of the heart, A heart that has been trampled upon by the disease of worldly pleasures and the spiteful pride of men. And at last, It rests and It surrenders to the lullaby of the often joyous and often sorrowful mysteries of our Faith, It suddenly gains trust and it now knows that the love of God, is one that is unceasing. It endures everything, every wound, & every heartbreak. It is love that is void of anxious burdens, for it is full sacrifice. It then finally reaches a moment of epiphany, that our truest joys are the ones in silence & in solitude, alone with Christ Crucified.

Deep and beautiful

[peter_okelly · 7 November 2005]

The comment about the film having 'not much depth' is absurd. I have rarely been moved to tears in a film but this one did it for me. Among all the absurdities, it captures some quite unique moments of meditation between Francis and God that we, the audience are very privileged to witness. The leper scene...beautiful moment of compassion, completely blew me away. The film cuts no corners and portrays rather blatantly the fact that NOBODY, not even St Francis is or was perfect, we're all foolish from time to time and must undergo humility to progress in the eyes of God. The fact is, saints like Francis and others lead a bleak existence, they lived hardcore lives and the rawness of this film captures that beautifully. The Mickey Rourke film is for those who see through a glass darkly.

Rossellini's Saint Francis on specific events!!!

[elo-equipamentos · 9/10 · 30 December 2019]

Rossellini's Saint Francis surprise me entirely as way he exposes this most significant Saint of the Catholic church, he displayed several and specific events around the Franciscan on early days, the movie starts when Francis and his followers are back from Rome after got the premission of the Pope to create an order of the Franciscan, then they receiving Saint Clare surround by flowers, also has the sweeping moment when he meets the leper with bell in his neck, he was afraid but evoked by his primal feelings he goes the leper and kiss his face, crying on the ground at night, certainly the best segment on movie, other substantial episode is about when Fray Junipero was wrongly accused to try to kill the tyrannical Nicolas at siege of Viterbo, he was extremely wounded by the Nicolas's hordes, until the Nicolas himself set free so humble Fray and demmand all them be back on fields, a haughty Rossellini's version this catholic entity who haunting the world until now, he became the protector of natural environment and the animals, also states as early forerunner of the renaissance by many researchers!!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 9

Rossellini and Fellini take us to Sunday school, only better because it's funny and harrowing and moving

[Quinoa1984 · 8/10 · 22 December 2022]

Overall, and at first glance, Flowers of St Francis may not seem as special or unique as the "trilogy" of post-war films from Rossellini (few have had as good a run as that trilogy though, Paisan alone), but taken on its own terms the humble aims of this production, with a series of episodes about St Francis and his slightly naive, motley bunch of friars and Brothers who get into various encounters and adventures and mishaps, is actually what makes it interesting.

Rossellini is not trying to create anything else than what it is, which is a series of parables, some with a moral (if you go taking off a pig's foot, no matter the good intent, face the consequences of its owner), and some less so but with something to do with Capital F Faith (I kind of missed the point of the segment with the Sisters on a first watch). It's like he and Fellini want to give the audience a feeling like what it would be to spend a month at Sunday school, only it's far from boring. After all, Ginepro gets into enough mishaps - including almost getting himself killed by a bunch of locals who confuse Ginepro with a killer, and then that encounter with the big hairy dude is surprisingly funny - to make even the most cynical and hard-edged atheist to sit up and engage with the text on screen.

And, most notably, the scene with the Leper, who appears at night to Francis and against any expectations is confronted by the Monk with the love and care we can safely assume he hasn't had (or not in a long time), is as moving as anything he or any Italian filmmaker has directed or will ever direct. It's told with barely any dialog, it was the only thing I could remember from when Scorsese talked about the film in My Voyage to Italy, and it brought me to tears almost immediately. To go up to the one who has become the Ultimate Outcast, the one who has to live completely on their own, and say with a physical gesture "Hey, you matter, you're somebody, you are loved, it's ok," is profound and speaks to what is meaningful about Christianity or any religion at its purest.

Maybe not a film you'll think you're in the mood for, and it takes some time to get going. But Flowers of St Francis is memorable: a great minor film or a light-major work, if that makes any sense. 8.5/10.