The Flowers Of St. Francis

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(out of 5)


Roberto Rossellini followed a decade of hard-hitting, gritty dramas, in which he made himself the father of Italian post-war Neorealism, with this sweet and deceptively simple film about morality. The fact that it was released at the height of his controversial fame, for having begun an affair with Ingrid Bergman during the shooting of Stromboli while both were married to other people, only adds to the irony of the film’s power when taken in perspective. It’s a picaresque collection of scenes centring around the titular saint and his fellow brethren, who navigate the murky medieval world, where survival is rare and religious piety is even rarer, with their clear and focused view of humanity. Non-professional actors do a terrific job of bringing the brothers to life, with Rossellini staging sequences with a sense of incredible power and even the odd jolt of whimsy. It’s not the most groundbreaking film you’ve ever seen, but its even keel and non-sensational attitude towards religion, a rarity in films that promote the subject, makes it one to last for the ages.


Cineriz, Rizzoli Film

Italy, 1950

Directed by

Story by Roberto Rossellini, Screenplay by , , , Roberto Rossellini

Cinematography by

Produced by

Music by

Production Design by

Costume Design by

Film Editing by


The Criterion Collection


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