Ghione si era accinto all'impresa con entusiasmo immergendosi per vari giorni in astruse letture e rapandosi la testa a zero per poter aderire fisicamente al personaggio nella maggior misura possibile.
Dopo qualche giorno di permanenza ad Assisi, però, tutto il suo fervore religioso svanì come per incanto, sopraffatto dal demone del gioco. Gli abitanti della piccola cittadina ebbero così il curioso privilegio di vedere molto spesso il loro prediletto San Francesco accapigliarsi in furibonde partite di poker con gli altri interpreti del film.»
E. Guazzoni, (Film n. 26, 28 giugno 1941)
« Il poverello d'Assisi diretto da Enrico Guazzoni, interpretata da me, che ebbi la coscienza e lo scrupolo d'arte, di rimanere quattro mesi, tonsurato da frate, su soggetto creato dalla Nobildonna Contessa Salimei, ebbe l'onore di ottenere la seconda medaglia d'oro, all'Esposizione Cinematografica di Torino, nell'anno 1912 (sic 1911).
Dopo il Santo Francesco, fui definitivamente assunto, as the first actor to China in three hundred pounds a month. "Emilio Ghione
(Memoirs and Confessions of Emilio Ghione (Za la Mort), 1928)
'and' one of the most successful productions of great stuff and almost always impeccable company in Rome. A film so well understood and reproduced, which has made a decree of the first prize at the Turin Exhibition.
The argument is that those best suited to the cinema. The beautiful three hundred has in it those elements of poetry simple and human, is so full of scenery and sun is enough to evoke, if only with an effort of imagination that time and the souls and the things that produced it, because the heart through all the range of the sweetest and pure feelings. And the whole soul is wrapped and three hundred of beats in the habit of St. Francis of Assisi, the greatest disciple of Christ, as Paul of Tarsus, was not elected by Christ: the sweet singer of Brother Sun, of the chaste lover Clare Sciffo, the purest lily flowers in the fields of human charity. All life and all the mission of Saint Francis of Assisi are saturated with poetry, color, simplicity. And these are the qualities which should always first be informed by the producer of the film. Peter Bernardo wrath of the love of Claire, the epilogue of a life consecrated to the sweet whole Christian utopia, is a chain of beautiful souls and beautiful environments. It was not for another, Cines should have been awarded the Grand Prix only for the sake of art shown in the choice of the topic. But here, in this Francis of Assisi , everything is beautiful, everything is of a freshness and a humanity that is really strange and consoling: the preparation, interpretation, photographic reproduction: everything, everything: people and things: landscapes and souls. The
Cines really deserve to be imitated, at least in the choice of donnnées from almost all other production companies for movies. "
Aniello Costagliola (Cinema, January 10, 1912)
'... in Francis Guazzoni authenticity to be found in the accents 'Reductive' rather than in the 'expansive' and symphonic. The vein of the author of Quo Vadis? Announcing intimate and lyrical. But while the director goes on the road with modesty and neatness of the tableau, Ghione - forced to sustain long pantomime edifying for the duration of static shots - appeals to some of his vibrant sensibility: cf. the scenes of renunciation of material goods (his character from El nudity Greek, gaunt and chaste, coy and human), the embassy in the East, the papal audience, the ordination of Clare, the three stations of the disease, more thinner, sweeter, more intense. When wisdom with iconographic and lighting, with cautious when invention, Guazzoni situation around Francis groups appeared well prepared, playing on the contrast between the costumes and using very well rapati the skulls of the Poor Man and his brethren. (Some thrill Rossellini; more freshness than in the Cavani, of which 'ef' the tenacity of John). In Ghione esteems above all, the gesture but dry off, and that religiosity just tinged with pathos that at the end point of the Foil, closed in on themselves to meditate or discard as in speech. (Typical sequence showing Francis undertook to convince a guy to release three white doves: solemn at first, then too effusive, but it ended - with the doves fly - from the calm smile of Francis, whose goodness is rational). "
Francesco Savio (Vision Private Bulzoni 1972)
I hope that these texts" promote "the interest in this film that he sleeps on the shelves of film for many, many years. A copy of the time (to nitrate) is the National Film and Television Archive in London. In 2008, a copy, with Italian intertitles, of the National Film Festival was screened in the Cinema Found 2008.
Finally, I would like to clarify it a little doubt ... But who is the actress who plays Santa Chiara? Italy Almirante Manzini? Fernanda Negri Pouget? I have not been able to see the film, and photographs published in the journal Image (Issue 4, June settembre 1982) sono così piccole e “buie” che non si capisce niente. Nel citato fascicolo c'è una trascrizione delle didascalie a cura di Alfredo Baldi, secondo lui (e secondo Vittorio Martinelli nel famosi volumi di Bianco e Nero), l'interprete femminile è Italia Almirante Manzini. Secondo altre fonti più recenti, per esempio il Catalogo del Cinema Ritrovato, è Fernanda Negri Pouget, persino Martinelli aveva cambiato idea nel suo volume dedicato a Emilio Ghione. Magari alla fine scopriamo che si tratta di Gianna Terribili Gonzales...
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