L'extase et l'agonie

The film is an epic grandeur feature of a interpersonal tug-of-war between the maestro Michelangelo and Pope Julius II.

I cannot help being shell-shocked to see the reconstruction of the magnificent ceiling though recognizably most of which is the trickery of montage (not in the real the Sistine Chapel, the location was inside Cinecitta Italy instead), but bathing under the glamour and solemnness of the visual wonders, I am stunned to exude my admiration and awe!

The two leads conspicuously stimulate a Moses versus Caesar confrontation, Charlton Heston seems to be more boorish than artistic to manifest a struggled Michelangelo, may God doesn't distinguish his people by their looks. The "agony and ecstasy" is watered down to an underwhelming stalemate thanks to Charlton's outlandish incarnation as the most eminent artist of that time. Rex Harrison, is by far and large worthy another Oscar nomination for his arresting devotedness, which is apt to impress the audience with a mind-blowing bi-polar characterization while good and evil coexist at the same time.

The film was a grave box office fiasco when it came out in 1965, however, judging by my appraisement, its merits still can be appreciated by our generation (a well-balanced script, the haunting original score and all the props and settings). However, the film entirely skipped Michelangelo's sexual orientation and awkwardly ploys a portentous conversation between Michelangelo and his admirer Contessina de'Medici (a over-wise Diane Cilento), which unveiled its cowardliness and helplessness.

My final remark is that as time goes by ruthlessly, art stands still and never fades away, so lucky enough cinema is yet a part of it.

The picture deals with Michelangelo or Michael Angel (Charlton Heston) who is working on the Carrara's marble creating sculptures and he is then ordered by Pope Julius II (Rex Harrison) the painting of as called Sistine chapel (that's why it was built by Pope Sisto) . Meanwhile , they'll develop various relationships with other Renaissance's important people . The film is correctly based on historical deeds and appearing famous roles , such as : Raphael (Tomas Milian) who shows up painting the ¨Athenas' school¨, Bramante (Harry Andrews) builder of the Vatican dome that hold his name , Girlandaio , Florence Medicis' descendants (Diane Cilento and Adolfo Celi) and duke of Urbin (Alberto Lupo). Besides , the film paces itself the confrontation between Julius II troops and the French/German army for the possession of the Pope's states . There are epic and impressive battles where the Pope himself fights enemies . The motion picture describes specially the creation of the enormous paintings on the ceiling and the difficulties that Michael Angel is suffering to achieve the immortal legacy . The Pope Julio II will also assign him the realization of his tomb .

The feature movie obtained a limited success and had a moderated box-office ; however , being nowadays better valued than the past . First-range acting by the two main actors : Charlton Heston and Rex Harrison , both of whom are magnificent . However , Rex Harrison did not get along with Charlton Heston at all during shooting ; in fact , twelve years later, while filming as secondary actors ¨Crossed swords¨ (1977) directed by Richard Fleischer , Rex avoided him utterly . Leon Shamroy's cinematography is rousing , the colorful paintings are glowing and brilliant ; spectacularly showing Bible's scenes at the Sistine Chapel . Alex North musical score is riveting (like ¨Spartacus¨ who he equally composed) . The sets are overwhelming and breathtaking , they were stunningly designed by production designer John De Cuir . In addition , evocative as well as adequate costumes by Oscarized Vittorio Nino Novarese . Carol Reed production and direction were excellent , he'd got much experience through a long career and had directed other classic movies (The third man) . Rating: Very good , above average and well worth seeing.

The Agony and the Ecstasy is the story of the creation of the Sistine Chapel Roof painting, the time and money it took while Pope Julius II was busy establishing his Papacy as a political force.

Back in those days the Pope was far more than the head of the Roman Catholic Church. He ruled a considerable piece of real estate in the center of the Italian peninsula that were called the Papal States. They varied in geographic size depending on how relatively strong the Pope or his enemies were at a given time. The Papal States were the last independent entity to join a united Italy in 1870.

The Borgias had been nibbling away at the Papal States for years and their triumph became complete when one of their's became Pope Alexander VI in 1491. When Giuliano Della Rovere became Julius II in 1503 succeeding Alexander VI he had it in mind to reclaim the states from the Borgias and their backer the French monarchy. Those are the folks you see Rex Harrison fighting at the beginning of the film.

In fact Harrison's identity as the warrior Pope is made clear right at the beginning of the film when after we see this figure on a white horse killing some foes in battle, he takes off his helmet and some attendees put his papal vestments right over his armor.

But Julius II wanted to be known as a patron of the arts as well as the warrior Pope. His uncle Pope Sixtus VI had built the Sistine Chapel which is today the personal chapel of the papal residence. According to Wikipedia its dimensions are exactly what the Bible lays down as the dimensions King Solomon built his temple. But who knows what Solomon had decorating his roof.

It's a big bare spot and who to fill it with something good. Julius II decided on Michelangelo Buonarrati who's got quite a resume of creativity to recommend him even though it's mostly sculpture.

The film is the story of the creative differences between Michelangelo and Julius. Michelangelo is knowing he's created something for the ages, but he won't see the big picture of the here and now of Renaissance European politics which Julius II has to deal with.

Sir Carol Reed directed The Agony and the Ecstasy and does a marvelous job of creating the look and atmosphere of the Renaissance in Italy. Charlton Heston and Rex Harrison playing Michelangelo and the Pope give outstanding performances.

If the film has a weakness is that it really is a two man show with no other characters developed in any way. The rest of the mostly Italian cast just serve as a crowd.

If you're either a patron of the arts or a Catholic who would like to know how the Sistine Chapel acquired its legendary roof than by all means see The Agony and the Ecstasy.

'Agony and the Ecstasy' is one heck of an attempt to be a big of a movie as possible. It's details the story of Pope Julius's commissioning of a reluctant Michelangelo to paint the roof of the Sistine chapel fer heaven's sakes!! It also two of the stars That Mattered In The 60's, Rex Harrison playing the Pope and Charlton Heston as Michelangelo! AND it runs for 2 and a half hours! I mean, this movie must mean something if they have a mini-biography of Michelangelo for the first 15 minutes, right? OK, despite it's too long running length, the movie is a fun sit through actually. It's not exactly a pompous costumed historical drama as it looks, sure there's a lot material covered here, but Heston and Harrison keep the story going quite well with their great portrayals here. I had seen this several years ago, and while Heston is good, it's Harrison who got my attention this time out, as his total control freak Pope character is quite entertaining to watch.

So again, a bit lengthy, but still entertaining.

This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti. Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller. The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do. Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career. He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery.