
A Man Named John
1965

1989
PG-13Director
Liliana Cavani
Runtime
157 minutes
Average Rating
No ratings yetSynopsis
The life of St. Francis of Assisi (1181-1226) as related by followers who gather after his death to tell stories so that Leone can record them: a privileged and virile youth, a prisoner of war, an heir who turns away from his father and gives all to the poor, a beggar for others, and an inspiration to friends who accept the Gospels' life of poverty.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film adheres to the historical constraints of its medieval setting. It focuses on a male monastic brotherhood without any non-cisnormative identities or same-sex romantic narratives.
Gender Representation
The narrative centers on male spiritual development and patriarchal merchant class dynamics. Female agency is largely absent, as the story focuses on the subversion of traditional masculine roles.
Racial & Ethnic Diversity
The cast is composed of European actors, reflecting the historical context of medieval Italy. The film maintains a homogeneous depiction of the period's social landscape.
Religious & Cultural Diversity
The film offers a profound critique of burgeoning capitalist structures. It challenges the morality of material prosperity by centering on the renunciation of wealth and familial authority.
Disability Representation
There are no prominent depictions of physical or neurodivergent disabilities. No such traits are utilized as central character elements or plot devices.
Strengths
Areas for Improvement
AI Analysis
Liliana Cavani’s biographical drama is a period piece deeply embedded in its 13th-century religious milieu. Because it focuses on the life of St. Francis, the narrative naturally prioritizes male spiritual development and monastic brotherhoods. While the film lacks modern intersectional markers regarding race and gender, it finds depth in its systemic critique. It uses Francis's rejection of his inheritance to challenge the sanctity of the patriarchal estate and capitalist accumulation. Ultimately, the film's diversity is limited by its historical focus, yet it succeeds in deconstructing socioeconomic hierarchies through its central theme of radical poverty.

1965

2022

1936

1953

1984

1989

2007

2003

1989

2014

1972

1987
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