"If you want to live
life free, take your time go slowly. Do few things but do them well. Simple
joys are holy." - Donovan
Czech writer Milan
Kundera has defined kitsch as offering a sanitized view of the world in
which "all answers are given in advance and preclude any questions." Clement
Greenberg defines it as "vicarious experience and faked sensations". "Kitsch",
he says, is "the epitome of all that is spurious in the life of our times."
One cinematic example might be Brother Sun, Sister Moon, the 1972
film by director Franco Zeffirelli that depicts the early years of St.
Francis of Assisi, a Christian saint of ecology and the environment. The
film has some strong moments, particularly in the last half-hour, but is
undone by amateurish acting, exaggerated sentimentality, and the banal
songs of British folk singer Donovan.
Francesco is the son of
a wealthy textile merchant. He has indulged in the good life in his youth
but when he comes back seriously ill from fighting a local war his attitude
towards life changes. He loves watching the birds, communing with nature,
washing lepers, and helping the poor. He hears the message from the cross
of a church that has been destroyed to "go and rebuild my church".
Turning from his father's greedy ways, he renounces all his possessions
and follows his ideal of Christ to live in simplicity and poverty. After
one of his followers is killed, however, he goes to Rome to find out what
he is doing wrong and, after much hesitation, receives the blessing of
Pope Innocent III who is played by Alec Guinness in the only scene in the
film that has any real emotional depth.
Graham Faulkner is unconvincing
as Francesco, playing the would-be saint with all the gob stopping goodness
and wide-eyed conviction of Martin Short performing a routine on Saturday
Night Live. He is not helped much either by Judi Bowker as Clare, a
young disciple who joins Francesco in running through the flowers or by
Lee Montague in an hysterically overwrought performance as Francis' capitalist
father.
Zeffirelli depicts the
young St. Francis as a stereotypical hippie rebelling against the sins
of greed and materialism. Of course by the time of the film, the hippie
movement had turned into a sordid scene of drugs and violence and the idealism
of the flower children had largely been pre-empted by a voracious media
that inevitably responds to new ideas with the position that if you can't
beat 'em, embrace and emasculate them.
I cannot argue with the
need to return to a life of authenticity, a life of the spirit, but despite
all its surface promotion of an open lifestyle, the film is a barely disguised
attempt to bring all the unwashed hippies into the Christian fold. Nonetheless,
Brother
Sun, Sister Moon is a beautiful looking film that might have still
worked if the director had simply followed the teachings of his protagonist
and shown less ostentation and earnestness, more naturalism and simplicity,
and more appreciation than exploitation.
GRADE: C-
Howard
Schumann