Michelangelo - Inferno und Ekstase

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.

I would be more generous than Maltin was with this one. I watched it again recently on tape and my impression improved over my first viewing. The production values are sumptuous, and the construction of a 1:1 mockup of the Sistine Chapel by Dino deLaurentis is a story in itself, evidently. Heston is pretty good as Michelangelo but is, I think, overshadowed by Harrison, who is just marvelous as Pope Julius (a previous commenter remarked on the historically inauthentic absence of his beard; in addition, Julius was too old & infirm too ride a horse into battle, but insisted on leading while carried on a litter). The conflicted interplay between Julius & Michelangelo is the core of the film, of course, and the script does its job well in this regard, particularly in the closing dialogue. It is interesting, though, to see how the movie dances around the issue of Michelangelo's purported homosexuality. We are so much more frank today (not necessarily for the better), and one shudders to consider how a contemporary movie would treat this subject (not that there's a chance in hell of a major movie being made today on the subject of the creation of one of the masterworks of Western Civilization's artistic achievements). If any movie definitely needs the letterbox format to show it off at its best, it is this one, so watch for it on TMC where it is often shown that way.

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.

'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.

I like historical films. Recently I watched three historical films all made in the early 1960s. These are 'El Cid', 'The Spartacus' and 'The Agony and The Ecstasy'. Of the three, I rate The Agony and the Ecstasy as the best. This film is based on the eponymous novel written by Irving Stone. I had read the book nearly a decade back and it was nice to see the film finally. The film is about the circumstances under which Michelangelo came to compose his famous frescoes in the Sistine Chapel of Rome in the 16th century. The Sistine fresco, the 'creation of man' has become almost an emblem for the artist. But not many know that Michelangelo painted the Sistine frescoes reluctantly, only because he was forced to do so by his patron, Pope Julius II. The film is about the war of wits between these two great men Pope Julius II is a warrior pope, a worldly Pope. His concern is to protect the papal states from being over run by warring European powers. For this he is willing to take up arms. The pope knows that the posterity wont remember him for his spiritual prowess or leadership. Therefore he want to leave great works of art as his legacy. He therefore hires Michelangelo to paint the ceiling of the Sistine Chapel. The artist is not very keen on painting and considers sculpture to be his true calling. He is also not willing to conform to the prevailing canons of artistic excellence. He feels constrained by the limits of time and money that is set. All the great moments of the film occur when the Pope and the Artist clash. It is a clash of ideas and world views: (1) Whether sculpture is a superior form of art as compared to painting; (2) Whether it is appropriate depict biblical figures in their raw humanity; (3) Whether it is moral for a man of god to take arms for his principles and so on. For me the finest scene in the film is where the Pope and the Cardinals come to see the frescoes and judge it as lacking in good taste. The Artist is forced to give a strong rebuttal and in the process he expounds the humanist philosophy of art. Shot in beautiful Technicolor, the film still looks spectacular. It is a visual and intellectual treat.