Brother Sun, Sister Moon Streaming
Vendredi, juillet 16th, 2010 |
Brother Sun, Sister Moon Streaming.
Movie Title: Brother Sun, Sister Moon Brother Sun, Sister Moon is available for streaming or downloading. |
I am a member of the Franciscan Third Order and fell in fancy with this movie attend when I was only 13. (I’m now 34) This movie is definitely a product of the 60’s - but the message is timeless. I feel badly that the review by Amazon was so discouraging. I would not want anyone to read that and develop a judgement.
The movie represents, in my notion, the right beauty of the Franciscan charism. The joy, simplicity and cherish that our Saint Francis embodied. I felt that Mr. Faulkner was an Helpful choice for the lead role - he couldn’t have been any closer to what I imagine Francis being. The director, Franco Zeffirelli, has done indispensable films (”Endless Cherish” NOT among his best) . If you are a fan of the celebrated “Jesus of Nazareth”, then I would suggest viewing this. In any case, this is a astounding small film to come by you acquainted with this timeless saint.
One bit of trivia - Sir Alec Guinness wanted to play the allotment of the Pope - as he had impartial converted to Catholicism not long before the making of this film. 
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Hope this rudimentary review helped!
After two weeks and four viewings of this simple but surprisingly rich and powerfully provocative film about the early life of St. Francis of Assisi, its stirring music lingers in my ears, its hopeful message peaceful aflame within my heart.
How does one rate movies? I resolve five main categories: the filming, characters, musical gain, development, and theme. All elements are related, so I carry out with overall remarks.
I survey this film as primarily a religious one, with heavy emphasis upon personal development. Thus, I was tickled to peep effective focus of the camera upon the facial expressions of the characters. For example, the eyes of Alec Guinness’s Pope Innocent III clearly reveal me his large warmth and effort for young Francis as he asks the Holy Discover for his advice. Francis’s eyes likewise snort his deep humility and sincerity. Pietro, ripping his bread from his jaws as he eats, reveals his fury raging uncontrollably. The filming also glorifies the astonishing scenery of Italy and the majestic colors of spring.
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As for characters, the main inquire of I always have is, are they believable? Can we identify with them? Even with Faulkner’s Francis, to a positive extent (he was a saint, after all), I say yes. That he seems to have been “bought out” by Paulo at the papal court shows his human nature. Giocondo’s reluctantly joining Francis and Bernardo, perhaps weighing contingencies, is not unlike what I might have done in his shoes.
The music? It was 1972, so Donovan was a superb choice, but his salvage fitted well with one of Francis’s life themes: simplicity. Francis’s real-life musicians would likewise have sounded snide, which made the film more accurate for me. The instrumental music is breathtaking, sweet and stirring to the bone marrow. The hymns are simple and elated enough to have established themselves in my ears even above the music of the Christmas season. While organ music didn’t exist in 1206 A.D., it might have been added to come a fresh audience that might be alienated to Gregorian chanting. Historical realism is not the film’s main goal, although the effects were well enough done to have earned it an Academy Award nomination.
Do the characters and area compose enough to withhold interest? In many of the characters I peruse the step-like change associated with the impact of profound religious influence. Francis, from pampered cloth-trade heir to tattered, mendicent friar is most striking. Distinguished is his change of heart, from frivolous and selfish to pointedly purposeful and sacrificial lover of humanity and, indeed, all life. Bernardo, ever steady, comes to realize what this loyalty must mean after his return from war. The bishop moves as a chess piece: forward in being humbled by Francis’s example, backward in yielding to the powers of dwelling.
Most importantly, I believe, is the theme for this film. Although its messages are primarily religious, I feel it smooth reaches out to all audiences. The quest for purpose in life is inherently a religious quest. Francis seems to have made Jesus more accessible to tens of generations of Christians, even more so with this touching film. The compassionate and activist spirit in which he imitated the gospels has encouraged me to dig deeper to acquire Christ’s meanings as he did.
Overall, this is a radiant movie, one I would examine a hundred times. I chant its hymns with exuberance. I am propelled by the flame it rekindled in my bosom to live more like Jesus, less horrified to advance out to people. I felt ten years younger watching Francis’s reckless abandon. Yes, reviews are polarized between Sappy Movie Award to Best I’ve Seen Award, perhaps as considerable so as the generation who saw it first in the 1970s. A sensitive hero Faulkner’s Francis is, but one with an iron rod of dedication. Most negative reviews focus on the film’s technical aspects, while the sure reviews expound on the do it has had on the viewer’s heart and life’s renewed sense of purpose and vigor.
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