Watching a film about a 12th century religious figure makes you realise how thin the line is between devout religious belief and the kind of behaviour that would get you locked away nowadays, or at least given a hard stare on the bus (certainly development with regards to mental health doesn’t always demonstrate a clear line of improvement over the centuries). In any case, there are plenty of lessons we can all take from the simple and unaffected titular saint in this film (though as with Pasolini’s film about Matthew, he isn’t sainted in the original language title; indeed he is described as “God’s jester”). That Italian language title gives you a better flavour, though, of the vignettes, which largely revolve around a very cheerful if ascetic approach to the tribulations of life, many of which revolve around Brother Ginepro (Juniper), who more than once returns to Francesco/Francis’s order half-naked without his tunic after giving it away, and engages in acts of simple naive faith that shake even a local warlord, Nicolaio (Aldo Fabrizi, clad in a suit of armour that puts Bresson’s clanking knights to shame, and only emphasises this film’s latent comedy, reminding me as such of The Seventh Seal). Ginepro (Severino Pisacane) and the equally simple peasant Giovanni (Esposito Bonaventura) come across as the film’s unlikely heroes, although Francis himself (Nazario Gerardi) gets plenty of opportunity to teach his message of tolerance, such that what initially seems a little camp becomes by the end even something approaching spiritual — a feeling not hampered by some truly stunning black-and-white cinematography.
FILM REVIEW: Criterion Collection
Director Roberto Rossellini; Writers Rossellini and Federico Fellini; Cinematographer Otello Martelli; Starring Nazario Gerardi, Severino Pisacane, Esposito Bonaventura, Aldo Fabrizi; Length 89 minutes.
Seen at home (DVD), London, Sunday 9 February 2020.