In his best performances, Rourke is not a dynamic, nervous actor of the Cagney/Lemmon type, though he leaves the impression of supple energy; there are fits of rage, according to the needs of the role. But he is fundamentally a contemplative, even quiet performer (--that's one more reason why his so called action flicks are so abominably lousy
).There are,of course,his several performances as a mean personthere, he is violent, etc.but one feels that is a periphery, ultimately untrue Rourke. His contemplative, discreet and hazy kindness was so faraway from the Hollywoodian clichés of the goldenhearted sissy ,that it passed almost unnoticed. Rourke played exquisitely several good, kindhearted manin ;he was able to portray good, fundamentally kind menand that is how he played St Francesco. As an Italian movie, this is very average and even unappealing; as a Rourke vehicle, it does have a secret warmth and is moving. Rourke portrays the saintly man that went through so many struggles. In the drear, stark, austere landscape, Rourke's face shines with a kind light. As the movie progresses, he installs himself progressively better in the role. In an old interview, he placed FRANCESCO among his dearest achievements, in the group of European or defining movies he made in the second half of the '80s. Rourke indicates the saintly love that united that Umbrian meek man to his lord, the Christ Jesus. (There is a scene in A PRAYER
and one in HOMEBOY where the same plenitude is to be foundFallon leaning on Jesus' chest, in the first movie; and the fighter gazing at a small Jesus statue, in his sordid ugly dirty lousy room
.)A note rings very true in the few scenes where Rourke's characters are consumed by love for their lord, the Christ, Jesus.
In fact, Rourke's best roles have an amazing quiet refined intensity, that makes them light like jewels. This actor had an amazing potential, huge virtual of acting. It is only too pity that he did not succeed in having a career at least as fruitful as Matthau's or as Scott's.(In fact, there are, paradoxically, or, better, apparently paradoxical, lots of B actors, active in the '40s'80s, who have luckier careers than his .Rourke got a lousy time for pictures. Beginning in the '80s, movies meant, came to mean mostly crap. Ugly, stupid, boring, phony, banal, insipid things. That's why Rourkeand Willis, Gibson, etc., have fewer meaningful, good roles than Matthau, Caine, Connery, and ever many lesser actors .) In his several Z movies, he was wasted (I mean the crap he did throughout the '90s).
What distinguished Rourke the most in his worthwile roles was his almost supreme authenticity, genuineness.
Mme. Cavani's direction here is what one might call, euphemistically, neutral. In fact, she was a leftist hack with interesting projects and, above all, ambitions. I know that Rourke, grateful for this role ,got along very well with her. In '94,in a magazine, I saw a picture of the two, on FRANCESCO's sets, Rourke was addressing her his seraphic smile.
In fact, Rourke's best roles have an amazing quiet refined intensity, that makes them light like jewels. This actor had an amazing potential, huge virtual of acting. It is only too pity that he did not succeed in having a career at least as fruitful as Matthau's or as Scott's.(In fact, there are, paradoxically, or, better, apparently paradoxical, lots of B actors, active in the '40s'80s, who have luckier careers than his .Rourke got a lousy time for pictures. Beginning in the '80s, movies meant, came to mean mostly crap. Ugly, stupid, boring, phony, banal, insipid things. That's why Rourkeand Willis, Gibson, etc., have fewer meaningful, good roles than Matthau, Caine, Connery, and ever many lesser actors .) In his several Z movies, he was wasted (I mean the crap he did throughout the '90s).
What distinguished Rourke the most in his worthwile roles was his almost supreme authenticity, genuineness.
Mme. Cavani's direction here is what one might call, euphemistically, neutral. In fact, she was a leftist hack with interesting projects and, above all, ambitions. I know that Rourke, grateful for this role ,got along very well with her. In '94,in a magazine, I saw a picture of the two, on FRANCESCO's sets, Rourke was addressing her his seraphic smile.