Brother Sun, Sister Moon is a 1972 British-Italian drama film directed by Franco Zeffirelli. Set in the 12th century, the film chronicles the life of St. Francis of Assisi, emphasizing his spiritual journey, his rejection of wealth and power, and his deep connection to nature. This biographical portrayal highlights the spiritual awakening and idealism of the young Francis, who becomes the legendary figure of St. Francis, revered for his humility and devotion to a life of poverty and charity.
Synopsis
The film opens with a young Francesco (played by Graham Faulkner) who is born into a wealthy family in Assisi. Initially leading a life of luxury and indulgence, Francesco is disillusioned with the materialism and vanity of his world. His inner conflict grows, leading him to reject his family’s wealth and status in a quest for a deeper spiritual truth.
A pivotal moment occurs when Francesco encounters a beggar and is moved by the man’s suffering, prompting him to give up all his possessions and take a vow of poverty. This marks the beginning of his spiritual transformation. As Francesco seeks to live in harmony with nature, he forms the “Order of Friars Minor” (the Franciscans), focusing on service to the poor and spreading love and peace.
The central relationship in Brother Sun, Sister Moon is that between Francesco and his love interest, the beautiful and noble woman Clare (played by Judi Bowker). Francesco’s profound spiritual journey, however, leads him to ultimately separate from worldly desires, including his romantic love for Clare. He sees his mission as a higher calling, connecting with the natural world and all living creatures as his true family.
Zeffirelli uses visual storytelling to highlight the themes of love, sacrifice, and spiritual awakening. The film’s title itself is derived from the names Francesco gives to the sun and moon, representing his view of the universe as a living, interconnected whole. The visuals are stunning, with the Italian countryside serving as the backdrop for Francesco’s search for peace and divine love. The film also uses symbolic imagery, such as Francesco’s encounter with lepers and animals, to highlight his deep spiritual connection to all forms of life.
Themes and Symbolism
Brother Sun, Sister Moon explores themes of spiritual awakening, the nature of true love, and the rejection of materialism. St. Francis’ life is portrayed as one of selfless devotion, not only to humanity but to all of creation. Zeffirelli contrasts the simplicity of Francesco’s ascetic life with the wealth and corruption of the medieval church, making a powerful commentary on the importance of inner purity over outward wealth.
The title of the film is symbolic, reflecting St. Francis’ belief that nature, the sun, moon, and all living creatures are expressions of God’s love. The spiritual connection between Francesco and nature is portrayed in various scenes, including his famous sermon to the birds and his relationship with animals, both of which highlight his belief in the sacredness of all life.
The relationship between Francesco and Clare serves as a poignant reminder of the spiritual calling that transcends romantic or earthly love. While Francesco deeply cares for Clare, he chooses to follow his higher calling, demonstrating the idea that divine love surpasses human attachment. Clare, in turn, becomes a follower of Francesco’s teachings and joins the order of the Poor Ladies (later the Poor Clares), dedicating her life to the same ideals of poverty and service.
Cinematography and Music
One of the most notable aspects of Brother Sun, Sister Moon is its beautiful cinematography. The film was shot in the scenic Umbrian region of Italy, with rolling hills, ancient stone buildings, and lush forests providing a perfect backdrop for the story. The natural beauty of the landscape is not only visually striking but also serves as a metaphor for the purity and simplicity that St. Francis sought in his life.
The film’s score, composed by Riz Ortolani, is another standout feature. The music evokes the spiritual and emotional themes of the story, with haunting melodies and symphonic arrangements that complement the film’s tone. The song “Brother Sun, Sister Moon,” written by Cat Stevens (now Yusuf Islam), became iconic and has since been recognized as one of the most enduring songs in film history. The lyrics capture the film’s themes of spiritual love and the intimate connection between humans and nature.
Critical Reception
Upon its release, Brother Sun, Sister Moon received a mixed response from critics, though it has gained a dedicated following over the years. Zeffirelli’s lush visual style and the film’s exploration of religious and philosophical themes were praised, but some critics found the storytelling too idealized or simplistic.
Positive Reviews:
Many critics lauded the film for its spiritual depth and its beautiful portrayal of St. Francis’ life and ideals. The cinematography and location choices were widely admired, with many pointing to the film’s ability to evoke the peaceful and serene nature of Francis’s teachings. The film was also praised for its emotional tone, capturing the inner turmoil of St. Francis as he sought to reconcile his noble birth with his spiritual calling.
The music, particularly the Cat Stevens song, became a hallmark of the film, helping to elevate the emotional resonance of the narrative. Stevens’ composition was seen as a perfect reflection of the film’s themes of spiritual love and idealism. His lyrics, “Brother sun, sister moon, I’m your shadow on the wall,” captured the essence of Francesco’s intimate connection with nature and the divine.
Negative Reviews:
On the other hand, some critics found the film too sentimental or overly romanticized. The portrayal of St. Francis’ life as an idyllic and almost utopian existence was seen by some as an oversimplification of a complex historical figure. Critics who were less sympathetic to Zeffirelli’s approach argued that the film lacked a deeper exploration of the harsh realities of St. Francis’ life and the political and religious context in which he lived.
Despite these criticisms, Brother Sun, Sister Moon has remained a beloved film for many, particularly those drawn to spiritual and religious themes. Its visual beauty, combined with its heartfelt exploration of St. Francis’ mission of love and peace, continues to resonate with audiences today.
Legacy
Today, Brother Sun, Sister Moon is regarded as one of Zeffirelli’s most visually striking and emotionally resonant films. While it may not be as universally acclaimed as some other biographical films about religious figures, it has certainly left an enduring mark on cinema and popular culture. The film’s portrayal of St. Francis remains a deeply human and idealistic depiction of a figure who rejected the material world to embrace a life of humility, service, and spiritual devotion.
The song “Brother Sun, Sister Moon” by Cat Stevens continues to be an anthem of peace and spiritual love, forever linked to the film’s themes. Over the years, the film has found an audience among those interested in Franciscan spirituality, philosophy, and the beauty of the natural world.
In conclusion, Brother Sun, Sister Moon is a visually stunning and spiritually profound film that remains a touching tribute to the life and legacy of St. Francis of Assisi. Its messages of peace, love, and the importance of a simple, connected life continue to resonate, making it a timeless piece of cinema.
