Redundant and unnecessary.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The best films of this genre always show a path and provide a takeaway for being a better person.

The acting in this movie is really good.

In early 13th century Italy, bird-watching Bradford Dillman (as Francis Bernardone) decides to enlist. He is recognized as a disciple of Jesus Christ by a beggar, but Mr. Dillman isn't fully aware of his godliness, yet. We know it from the opening. The son of a merchant, Dillman befriends fellow soldier Stuart Whitman (as Paolo). They become so close Dillman gives his extra women to Mr. Whitman. Outside of the barrooms, both become rivals for more virginal blonde Dolores Hart (as Clare)...The men go off to war, but Dillman deserts when the voice of God tells him, "Put away the sword." Dillman is shunned by his community and imprisoned while he waits for God to give him additional directions… Poor Dillman. Not that is performance is award-worthy, but, at least he's reverential and ready for action. Dillman also ages believably, in both appearance and manner. However, it's not enough to pull producer Plato Skouras' epic last film together...Nearing retirement, director Michael Curtiz is clearly slowing down. Whitman seems to be in the wrong century. Before she loses her long blonde hair, Ms. Hart appears to be in the wrong country. Nobody else is on screen long enough to contribute much. The famous subject is given a silly story treatment. Assisi blesses animals, for example, by greeting them. A nursing pig is greeted, "Good morning, sister pig." But right before that, Dillman says, "Good morning, brother cow." And, that's no bull.**** Francis of Assisi (7/12/61) Michael Curtiz ~ Bradford Dillman, Dolores Hart, Stuart Whitman, Cecil Kellaway

The road to movie dullness is paved with good intentions. The captivating story of a 12th century man who embraced Jesus' teachings of poverty and aid to the poor and the sick is given a reverent, but sometimes tiresome treatment here. It also manages to either skip or gloss over several of the more striking facts of the real story! Dillman is the wealthy son of a successful merchant who begins to hear a voice in his head, urging him to forsake his worldly possessions and rebuild the church. When he also forsakes his commission in the military, he is placed under arrest in a dungeon! Eventually, through the intervention of his female friend Hart, he is released by his former comrade in arms Whitman. He then begs in the street for stones and begins to build a church, eventually amassing 10 followers who help him with his work. They travel on foot to Rome where eventually they receive the Pope's blessing and before long, Dillman has hundreds and hundreds of devotees following his practices. Hart even becomes a nun as a result of his example. One of his travels takes him to the desert where he comes face-to-face with Sultan Armendariz who almost causes him to undergo a trial by fire. As he ages, he loses most of his vision and begins to deteriorate, but not before founding an order that lived on and lives on today. Dillman does pretty well as the title character, offering up the type of beatific arrogance that not everyone can master. It's a role not completely dissimilar from that of Tom Tryon's in "The Cardinal" and one could see the men switching roles with relative ease. Hart, who later became a devoted and successful nun in real life, gives a solid performance. She is to be credited, especially in 1961, for completely eliminating any beautifying makeup during her scenes in a habit. Whitman, who was dabbling in cloak and sword films during this era, is handsome, but out of place. His accent is so contemporary (along with his hair) and his character (fictional) is too coincidentally tied to Dillman's in several ways for him to be all that believable. He does, however, have one decent scene near the end. An impressive assortment of esteemed veterans round out the cast. Kellaway plays a cardinal interested in Dillman's work, Franz is Dillman's difficult-to-please father, Currie plays a downright ancient Pope (as can be the case!) and Armendariz has a decent cameo as the Sultan. The film is luxurious in many respects, with striking costumes, splendid scenery, detailed settings and so on, but too many things keep it from realizing epic status. For one thing, the story is trotted out in an almost comic book or Disney fashion. It's very episodic and some of the episodes are a tad too cutesy, such as when Dillman blesses all the neighborhood animals. Then there's the uproarious moment when Dillman enters a leper colony and listens to this howler of a piece of dialogue: "I don't want your peace. I wanna get rid of my stink!" Dillman should have gotten a nomination just for keeping a straight face through that one. Oh, and don't miss the unfortunately staged scene in which Johns, as a sweet, simple-minded follower of Dillman, comes to fetch him and as he's in profile, an extra in the background is flexing his arm right at John's crotch level, providing an hysterical, unintentional sight gag! The film opens with shots of frescoes while the impressive ooh and ahh music soars. Unfortunately, almost every single scene opens with a variation on the same nine-note melody until it becomes not only predictable, but almost laughable. All Hollywood films change the details to make a film more entertaining or to broaden it's appeal, but the introduction of a standard (and predictable) love triangle between Dillman, Hart and Whitman was a mistake (not to mention possibly in poor taste!) Fascinating tidbits from the Saint's real life don't make the cut, such as when he was shipwrecked on the Dalmatian coast or when the Crusaders in Damietta wanted to slay him as a heretic and the Sultan saved his life. The stigmata is barely suggested. Also, oddly, the man was known to avoid walking sticks and sandals, yet the film shows him with both and even has Hart gifting (!) him a new pair of sandals! It's not a bad film, it's just a bit hampered by too many concessions and conventions, possibly by a director who was too set in his ways.

Contrary to scant reviews of this movie as rather mediocre, several interesting aspects make it worth a viewing. Perhaps aside, there is the amazing parallel of movie-to-reality of lovely Dolores Hart, who plays the noble woman Clare. Clare forsook marriage to an earnest noble (Stuart Whitman) and followed Francis (Bradford Dillman), founding the Poor Clares order of nuns. Hart was on the verge of marriage in 1963, when she decided to become a nun. The acting is good enough to keep one interested. And seeing some of the last appearances of old guard like Finlay Currie, Cecil Kellaway, and irascible director Michael Curtiz (who directed many of Errol Flynn's swashbuckler movies and other Warner Bros. fare in Hollywood hey days) sufficiently tempts the serious movie buff. The movie itself has the look—lots of color but also the lingering epic Hollywood scale--of historical yarns of the late 40s on through the 50s. Like the better efforts of this genre, the life of Francis progresses with a competent script—particularly in Francis's struggles against the establishment church. Thus it is historically preferable to Zeffirelli's minimalist Brother Sun, Sister Moon which frames Francis and Clare as more akin to 60s hippies than inhabitants of the 13th century—with a plot that meanders like a music video—and Donovan's music to prove it (Zeffirelli also wanted the Beatles to appear in the movie!). This reviewer is perhaps tainted with some nostalgic bias, since as a small boy I saw the Southern California premiere of Francis of Assisi (in Downey—southeast LA county suburb--of all places!) that included a live appearance and short commentary on stage by Stuart Whitman, who in his rough out style played Francis's friend-turned-antagonist (having been jilted by Clare) Count Paolo of Vandria. Years later at Universal I worked with Whitman, who, crusty as ever, recalled memories of the movie shoot as a tolerably pleasant experience.

The production values for this movie are very high. The period costumes are some of the best ever and the filming is beautiful. Even the horses are elegantly clad and the battle scene with the horses on the bridge is impressive.However, all of this effort does not cover up problems. Many biographies of Francis are captivating, but the story, as presented here, is quite unbelievable and never involving. After Francis' conversion we see him pulling a cart through the streets asking for stones to rebuild a church (it just so happens that everyone along the way happens to have a few spare stones readily available). With a few followers we see Francis working with some crude structures at the church site and then, magically, we see Francis and his followers in an elaborate cathedral with large pillars and intricate stone work that would have taken sophisticated engineering to build. And Francis never encounters anything but beautiful sunny days.Francis goes on a mission to the Holy Land and we see him wandering alone in the desert with a small pouch of water. Two Arabs are seen in this arid place who unleash vicious leopards upon Francis, but he tames them and gives them water. There is a "my God is bigger than your God" scene between Francis and the sultan that is quite depressing - how little progress we have make in 800 years.Bradford Dillman does his best with the script he is given and has a couple of good scenes toward the end, but the acting by Dolores Hart and Stuart Whitman is pretty amateurish.The main problem I have with this movie is that it did not show me what it was about this man that accounted for his accomplishments. He must have been inspiring and charismatic, but what we get here is a very passive reader of scripture. I understand the appeal of a Martin Luther King, but I do not understand the appeal of St. Francis from what I see in this movie.The most enjoyable part of the movie for me were the photos of the Frescoes of Giotto in the Basilica of St. Francis of Assisi that played under the opening credits.