The Agony and the Ecstasy (1965)

8/10

Historical picture about two greatest Renaissance figures : Michelangelo and Julius II

ma-cortes10 May 2005

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.

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8/10

Battle of Wills Between Michelangelo and Pope Julius--Fascinating

silverscreen8881 July 2005

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.

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8/10

Paint-it

kosmasp7 July 2007

Charlton Heston as Michelangelo? I had my reservations, regarding that, but after watching the movie, I have to admit, they were all wrong! But he's not alone! Rex Harrison as his counterpart or sometimes mentor to Michelangelo, is just as genius as Mr. Heston himself!

The movie is made to be seen in the cinema (shot on 65mm and shown theatrically on 70mm, if the movie theater has a projector for this film), but you could also watch it at home. And it will almost certainly be the only place you can watch it, unless you seek out festivals, where it sometimes runs/shows/plays! It's worth the money and the time. If you like period pieces of the 60s, even more so!

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They don't come much more epic than this

sychonic4 August 2002

When you think about it, making a movie about artistry is pretty hard. Painting, writing, sculpting, music, whatever, it's not easy to make the act very interesting--painting is painstaking, it takes a long time. But in this movie, they succeed. Not just making a movie, but making an epic, a massive movie out of an act of creation, is a tough thing to do. But they really do succeed. At the heart of the movie isn't really the act of creation, or the passion for it, or even the ceiling itself--it's the adversarial relationship between Rex Harrison (Pope Julius II) and Charlton Heston (Michaelangelo).

It's certainly not that passion and creation are not here, it's just that they enrich the story about two men and their relationship. When Julius comes into the chapel in the middle of the night, and Michaelangelo is invariably there, there's a bond, even with silent incipient tension.

Heston is of course the only person for this role, as epics go, he's the best. For some reason he manages not to be overcome by the massive scale of these sorts of movies--something that happens to almost everyone else (look at Sinatra and Cary Grant in "the Pride and the Passion", they are totally lost in the grande scale, and they're the incomparable Grant and the larger than life Sinatra, not much more to be said there). Heston makes a solid tortured artist and Rex Harrison is quite wonderful as the Pope. He communicates the strength and intelligence of a Pope who loves art but must go to battle to preserve all that he holds dear. There's a scene when the Pope wants people to see the half completed chapel, since he has grown impatient with the time and when Michaelangelo bitterly objects, Harrison explodes with anger--extremely effective. When Harrison passed, it was truly a loss to movies.

There are flaws, no question, and it's not Heston's best work, course, once you've done Ben Hur and the Ten Commandments, nothing else is going to be your best work. The subplot with the sort of love interest is pretty silly, and it goes on a bit too long. The earnestness of the faith in the church, the sincerity of Heston when he says "Holiness" to the pope, a man that drives him crazy, is poignant. His faith is deep, almost as if he derives his love of art from a love of God. There are even some nice moments of levity as when a spattered Michaelangelo spits out a gob of paint and it lands near a watching Julius; or when the Pope creates a cardinal out of teen for payment in order to keep up the painting.

When it comes to big movies, this definitely lays with a handful of others that will never be surpassed--Titanic tried to be this kind of movie, and proves that even with $200 million and all the nifty gizmos of the modern age, it's very difficult to do; c'mon, Rex Harrison and Charlton Heston compared to Leo DeCaprio and Billy Zane--not much of a contest there.

See the movie, forgive it its flaws and appreciate the richness and nuance of the relationship between Pope and Artist.

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7/10

Creating A Wonder

bkoganbing17 May 2006

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.

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10/10

Exquisite film. Hollywood would never make something like this today.

soulcleaver23 October 2007

Warning: Spoilers

The Agony and the Ecstasy is a 1965 film about the painting of the Sistine Chapel and is loosely based on Irving Stone's novel of the same name. Starring Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II, the film seems to be historically accurate, with the usual artistic liberties taken (such as Michelangelo not being jailed and beaten for arguing with the pope) to make it enjoyable to watch. The sets were exquisite. It will never cross your mind that this was made in the twentieth century. The attention to detail, such as the pope's splendor and the peasants' squalor, immerses the viewer in the Renaissance. While the pope's British accent was at first awkward, it is indicative of Hollywood's tendency to give British accents to Europeans. Heston speaks in a brash American accent, but his performance is grand enough to forgive this.

The strained relationship between Julius and Michelangelo creates visible tension throughout the movie. The two bicker and have their differences, but even Michelangelo's sketches lying on the dirt prove so captivating to Julius that he, ignoring the cannons and screams around him during a battle to regain Catholic lands, must study them. At this moment, the two men are sharing a sense of purpose toward the same goal of glorifying God and his creations. They seem like generals planning a battle other than the one going on around them.

The final message was that God inspires people to do important things, even if they don't realize it. Pope Julius thinks he's just a warrior and Michelangelo thinks himself a mere artist, but centuries later they are remembered for their ambitious actions in creating a wondrous work of art.

The ultimate result is an immensely entertaining, realistic, beautiful masterpiece comparable to the ceiling of the Sistine Chapel itself.

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7/10

The Agony and the Ecstasy

lasttimeisaw10 August 2011

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.

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9/10

The worldly pope Julius II Confronts the great renaissance artist Michelangelo and out of this clash is born the finest frescoes the world has ever seen.

appujosephjose15 February 2013

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.

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7/10

Truly a real 'Art' film

ironhorse_iv19 March 2013

Warning: Spoilers

Director Carol Reed paints us, the audience, a portrait of the relationship between artist Michelangelo (Charlton Heston) and the Warrior Pope Julius II (Rex Harrison) based on the novel by Irving Stone. Pope Julius II has just commissioned the artist to paint the Sistine Chapel ceiling despite Michelangelo wanting no part of it. The two Renaissance's most colorful figures play a game of cat and mouse, as one is persistent and will not cease until he gets what he wants which is Michelangelo's painting his ceiling. The other figure, Michelangelo is an artist who did not want to paint, stubborn and resisted to all things "normal". He is not stubborn just to be stubborn. He can follow the suggestions of others unless it pertains to art, particularly his art. He knows what he wants and he has reasons for believing that his way will be best. His work on the Sistine Chapel would often bump heads with the strong mind Julius on issues of nudity, and how to portray God's work. The battle of wills fueled by artistic and temperamental differences gives us the audience, a great dramatic historical film. The combination of Michelangelo's varied background as sculptor, painter, poet, architect and engineer, his own personal weaknesses and vanity, and his unremitting drive which enabled him to conquer overwhelming disappointments and find satisfaction in difficult and backbreaking work makes gives the movie its title. Charlton Heston and Rex Harrison are very great in their role as I feel the acting is amazing. Still Charlton Heston feels a bit playing over the top wooden in the role and Rex Harrison is a bit too wordy. The cinematography in the film is breath taking and scenic. I love the scene in which Michelangelo emerged from the cave to find a beautiful sunset giving him his idea for the Sistine Chapel ceiling. It reminds me of how man first came out of the caves dwellings life and into a life of innovative thinking. So Renaissance like. The soundtrack by Alex North is a brilliant score. Oscar nominated work right there. One of the faults of the film is the pace of the movie is very slow to the point, it's snail like. 138 min is the final run time. Historians were quick to point out that the film was even less historically accurate than the Irving Stone bestseller on which it was based. This movie is only a small part of the book and Michelangelo's life. There was a lot of interesting parts left out in order to make the entire movie about the painting of the Sistine Chapel. Yes, Charleton Heston nor Rex Harrison look nothing like Michelangelo or Pope Julius II, but it's true that Michelangelo and Julius were stiff-necked, driven men who use reverse-psychology on each other to get what they want. Another issue about the film is the issue of Michelangelo's sexuality. The movie has Medici's wife in love with him while history states that he might had be homosexual. I know in the 1960's, it would be shocking to see Charleston Heston play a homosexual character, but with all the Homoeroticism art Michelangelo did, it would more historical accurate. In my opinion, it's better to cross out the love story, and focus more on his struggle with the ceiling. The locations scenes in Italy do well in evoking the early 16th Century in Italy. Still, the streets a bit too clean for 16th century Italy. If you are not hooked on historical accuracy and are willing to see Charlton Heston be in pained for several hours, you may enjoy this film. Essential to watch for any art fan.

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8/10

excellent historical drama

rupie3 November 2000

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 the West's artistic inheritance). 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.

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7/10

"When will you end it??"

Spuzzlightyear28 August 2005

'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.

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8/10

The two parts of love

blanche-219 August 2006

"The Agony and the Ecstasy" is the story of Michaelangelo and his painting of the Sistine Chapel at the behest of Pope Julius II, a warrior and Patron of the Arts.

But it's really about so much more - the connection between art and the artist, faith, will, and the quest for perfection. Most of all, it's about the complicated relationship of two determined men, Michaelangelo and Pope Julius, which is adversarial and even violent.

The color and scenery in this film are truly beautiful, but I'd love to see a restored print, as I imagine the colors would even be richer.

Charlton Heston is a convincing and strong Michelangelo in what may be his best performance. It's buoyed by the magnificent work of Rex Harrison as Julius II. The two spark one another, and the result is an exciting screen teaming. There is hatred, resentment, a battle of wills, love and admiration between them, the agony and ecstasy of connecting with another, as Diane Cilento says in the film. She plays a woman in love with Michaelangelo. He explains that he cannot love her because of the commitment he has made to his true love, his art. The book hints at Michaelangelo's homosexuality, and it's covered with one line. After Michaelangelo says that he cannot match her feelings, he looks at a sketch of a nude man. "And it's not that either," he says.

Many scenes stick out. The somewhat hokey one in the mountains, when Michaelangelo looks at the heavens and receives his inspiration is nevertheless a gorgeous scene; the incredible scene when Michaelangelo discovers the Pope alone at night with a candle studying the ceiling is perhaps the best, as Michaelangelo explains his concept of God and faith. And the last scene between the two men is unforgettable.

There is a documentary about Michaelangelo and his work before the movie begins. A magnificent film. Don't miss it.

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7/10

Are you a Charlton Heston fan?

joh0603923 October 2007

The Agony and the Ecstasy

The movie, The Agony and the Ecstasy, was fairly accurate to history. Of course, there are a few changes made in the movie to increase the entertainment value. In the film it is implied that Michelangelo had a relationship with one of the Medici sisters. However, there is no such account given in the historical record, so we presume it to be Hollywood-ized romance. The historical truth is that Michelangelo was a devout Christian, with no record of an intimate relationship. It appeared that a lot of time was spent in studying the era of the time to create the costumes, especially those of church officials. They wore very detailed and symbolic robes and gowns.

As far as the Sistine Chapel looked, it was well done in that it looked comparable to the one in real life. In the storyline, Michelangelo's work is delayed three times, as the Pope doesn't have funds to pay him. In our research though, we could not find any evidence of the three uncommisions. European wars were accurate and actually had the Pope in the battle field, which was accurate because he was known as the "Warrior Pope". We found it interesting that Pope Julius II called Michelangelo 'Buonarroti'; nevertheless, it is part of the painter's name. In the film, Michelangelo gets upset and destroys some of his work which is also true. Church officials criticized Buonarroti's work saying that the pictures painted were indecent. As far as the main character, Charlton Hesston looked way too good for a man who never bathed or shaved. We found the Pope and Michelangelo's love/hate relationship quite entertaining! ("When will you make an end?" "When I am finished!" - A funny 4 year long argument). The best entertainment was Michelangelo's fall from the ceiling. It was extremely dramatized and very amusing! Some themes throughout the movie were: 'the world is not alone' which was brought to our attention when Michelangelo sits pondering atop a mountain. The clouds are shaped in the form of God; thus 'the world is not alone'. It was also symbolic when Michelangelo was struggling and not satisfied with his work. So he takes time off (actually fleeing) to consider what would really be of useful meaning for the painting of the Sistine Chapel 'Meditation brings inspiration'. Michelangelo really focuses on the fact that "God created man in his own image"- (that's why Michelangelo painted his models nude).

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5/10

Harrison steals the show in an overblown movie with terrific sets

secondtake26 October 2011

The Agony and the Ecstasy (1965)

Coming with the American rush to "love art" in the 1950s and 60s (including the famous visit of the real Mona Lisa to America by boat), "The Agony and the Ecstasy" is a touchstone of how to make a hero of an artist and make him or her human, too. That's the key, you know--the artist has to be ribald and earthy but also transcendent, almost beyond his knowing.

That's the flawed paradigm at work here. We learn nothing about how Michelangelo's art was made--how it was painted. Nor how it was devised or inspired--the image of God in the clouds doesn't cut it for me. And we actually learn nothing about the real man--Charlton Heston's interpretation is fair enough, I suppose, but it's really just the necessary cliché of a talented (handsome) man tossed around by forced bigger than him.

What is supposed to drive the movie, and in a way saves it as a piece of entertainment, is the presence of the penny-pinching Pope, played by Rex Harrison (of "My Fair Lady" and "Julius Caesar" fame). His haranguing about the ceiling is blithe and fun. And Heston's complaining as he creates his masterpiece (with plaster dripping on his face--actually pudding in the shoot) is a foil for the Pope more than anything. Oddly, the Pope is a stronger character than the artist, and if history is at all right, we get the sense it was the other way around.

What is terrific about the movie is the set--a replica of the Sistine Chapel in a nearby movie studio. They gave them freedom to shoot it in all different phases of the painting, with and without scaffolding, night and day, and it's pretty marvelous to see it unfold in a way not so far from what must have been the truth.

Another bit of truth snuck in during these last days of the Hays Code: when someone comes looking for Michelangelo in the whore house, the prostitute goes hysterical laughing because, of course, he would never be found there. The artist was gay, and the world knew it then and knows it now, and the filmmakers get a clever wink in.

Another highlight is the incredible marble quarry in Carrara, a real place with what really is the best (seamless, pure, easily sculpted) marble in the world. Lucky it was nearby ancient and Renaissance Rome, both.

Don't avoid this movie at all, but don't expect anything truly penetrating. It's aggrandizing, it's formulaic, it's well filmed, and Harrison is in great form. But director Carol Reed ("The Third Man") chickened out a bit in a chance to push the boundaries a little harder.

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impressive

Kirpianuscus29 April 2017

like many historical films from the same age of Hollywood, the word "impressive" is the first to say. not only for its status of epic drama, costumes and the translation in image of a period. but, maybe , more important, for the admirable clash between Rex Harrison and Charlton Heston. and for the feel than a great story has its right and fair adaptation. because something impose "The Agony and the Ectasy" as special. not the biography of a great artist - and the admirable virtue is to know than Heston is Michelangelo not only act him - but the chance to discover yourself. the film, like the book, it is a beautiful eulogy to the life. using a genius as character of a kind of parable about art, proud, honesty and desire. so, just impressive. in this case - a word with deep roots.

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6/10

First half, agony; second half ecstasy.

mark.waltz12 April 2020

Warning: Spoilers

Too much exposition, giving the viewer a vot too much perspective of the history of the period, and perhaps too little revelation of what lead to the conflict between Pope Julius II and Michaelangelo. It's a great chance to pair two titans of the stage and silver screen, Rec Harrison as Julius and Charlton Heston as Michaelangelo. the film starts off with a 12-minute documentary exploring Michaelangelo's work, showing the modern settings of where everything took place, and giving the film an interesting start. But from there, for at least the first hour, the film is a dull exposition of the series of events leading up to the finish of the Sistene Chapel in the Vatican, and once the conflict between the pope and the artist explodes, it becomes more character related and much more interesting. Much detail is presented as the film develops into the two historical figures inner torment, and Harrison is brilliant in expressing groves his brutality and his spirituality. He is obviously a man greatly tormented by human failings and a desire to be a great serviceman to God. Harrison is brutal one minute, striking Heston with a stick in fury for standing up to him, and then looking at him in a combination of resentment and regret as he passes by him in a parade while everyone around him kneels at a simple human being.

As for Heston, he is no different here as he was as Moses, Ben Hur or John the Baptist. It's not a one-note performance, but it's obvious that he really didn't give much thought about the little details that would make Michelangelo stand out in his repertoire of classic real life historical personalities. Under the direction of Carol Reed, the film is gorgeous to look at with reconstruction sets looking exactly like the Vatican awe inspiring. But until the film begins to truly develop the working relationship between the two men, it is often pretentious and wordy and slow-moving. Diane Cilento has a major supporting part as Heston's love interest, placed in the background when Michelangelo becomes determined to get his job in the chapel completed. There are many moments when the film is overpowered by the musical score which doesn't aide at all in the film's frequent slow pacing.

It's interesting to hear that the more interesting character is the more sinister one. Harrison's character is quite unsympathetic at times, the type of high powered official that men both fear and hate, one who has a ton of enemies who would like to see him dead. This doesn't paint the Catholic Church of the middle ages in a very good light, but by the time that the film is over, you really feel like you've gotten to see every aspect of Pope Julius and gotten a sense of atonement. Heston's Michelangelo seems to just be there as a reactor, overpowered by the greatly conflicted Julius, one of the most controversial popes of all time. Had the film not changed its course halfway through, I would have probably rated this at a four rather than a six.

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8/10

A proof of faith and a battle of wills...

Nazi_Fighter_David3 January 2000

Warning: Spoilers

Charlton Heston is very good as Michelangelo Buonarotti, the Florentine painter, sculptor, architect and poet, one of the greatest and most versatile artists of the Renaissance who exerted an extraordinary influence on Western art...

The story - based on the Irving Stone best-seller - tells of that period during Michelangelo's life when he painted the ceiling of the Sistine Chapel...

Rex Harrison portrays the sprightly Pope Julius II, the greatest art patron of the papal line and one of the most powerful rulers of his age, who led military efforts to prevent French domination of Italy and as a politician and patron of the arts, he shove for a synthesis of church and state, of spirit and culture, with a grandeur unequaled by succeeding popes... His name is closely linked with those of great artists such Bramante, Raphael and Michelangelo... With his wealth of visionary ideas, he contributed to their creativity... Although he had little of the priest in him, he was concerned - toward the end - only with the church's grandeur... He wished for greatness for the papacy rather than for the pope, and for peace in Italy...

The film shows the extraordinary violent temper of the Pope, his lost of his self-control and his rude behavior towards the Florentine when he shouts: 'He will paint it or he will hang!'

But, in one scene, he explains to Michelangelo his reasons: 'If I had not become a conqueror, there would be no church, no pontiff, no hope for peace for mankind and, I might add, no patrons for sculpture, painting, and architecture.'

"The Agony and the Ecstasy" is a proof of faith and a battle of wills... The pope continually asks Michelangelo: 'When you will make an end of it?' and the answer of Buonarotti is invariably the same: 'When I'm finished!'

But despite these recurrent strains imposed on their relations by the two overly similar personalities, their relationship is so close that the Pope becomes, in fact, Michelangelo's intellectual collaborator... The paintings are in form and conception, a product of the artistic symbiosis of two towering figures of the 16th Century-Italy...

Two breathtaking moments of the motion picture are to be mention: The 'Inspiration' scene where the clouds were forming the focal points of Michelangelo's Frescos; and the great sequence of meditation between the Pope and Buonarotti in front of the creation panel...

The supporting cast include: Harry Andrews playing the Italian architect of the Renaissance Bramante; Tomas Milian as Raphael, the master of the Italian High Renaissance style; and Diane Cilento as Contessina Medici, the woman who drives Michelangelo to search his heart for important paths of activity...

The film - an ecstasy for those who love and appreciate great art and powerful work - is a huge spectacle, a rich dramatization, moving and fascinating...

The picture ends by another commission of the Pope to Michelangelo, another huge work, full of swirling figures and terrible images of despair, the powerful fresco: 'The Last Judgment', the ceiling behind the high altar... Michelangelo's continuous argument is heard: 'I still say painting is not my trade!' and, obviously, the Pope response: 'To work, my son!'

And what a huge work Michelangelo left... A breve documentary demonstrates before the beginning of the motion picture: The Pieta of St. Peter's; The Colossal David; and The Moses.

Pope John Paul II led a ceremony December ll, 1999 celebrating the completion of the two-decade restoration of the Sistine Chapel... Speaking haltingly, he said: 'This place dear to the world's faithful not only for the masterpieces it contains but also because of the role it plays in the life of the Church.'

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7/10

Stunning Visuals, Fine Harrison, Thin Inaccurate Bio

dglink6 February 2016

Already renowned as a master sculptor, Michelangelo is commanded by Pope Julius II to paint the ceiling of his Sistine Chapel, and he reluctantly accepts the commission. Based on Irving Stone's best-selling novel, "The Agony and the Ecstasy" is a thin retelling of the artist's creative struggle and his verbal sparring with the Pope. Carol Reed's lavish production is shamelessly padded with a documentary prologue about Michelangelo's sculpture, an intermission little more than an hour into the movie, exit music, and numerous atmospheric shots that add little but running time to the story. However, the padding and extras provided enough perceived value to warrant a reserved-seat roadshow presentation at higher ticket prices, which was a popular venue for prestige films in the 1950's and 1960's. Unfortunately, this obviously big-budget production exemplifies the old adage that the whole is less than the sum of its parts.

Charlton Heston has a granite face and monumental physique that suggests one of Michelangelo's sculptures, and, while he has on-screen presence, his acting range falls short of the demanding role of a tortured artist. Rex Harrison, on the other hand, is outstanding as the warrior pope, a complex man balancing spiritual and worldly ambitions. Fresh from an Academy Award nomination for his Julius Caesar in "Cleopatra" and a second nomination and the Oscar for his Henry Higgins in "My Fair Lady," Harrison deserved a least a third nod for this film. The rest of the cast is adequate, although Diane Cilento, who does the best she can with a thankless role, is little more than a bone thrown to the female audience in what is essentially a male-centric drama. Michelangelo is among the world's most famous historical gay men, and, while Philip Dunne's screenplay alludes to the artist's sexuality, the script blurs the issue and sidesteps a direct confrontation; Cilento's ambiguous relationship with the artist was likely intended to throw off all but the most knowledgeable viewers.

Aside from Harrison's performance, "The Agony and the Ecstasy" is worthy viewing as a visual feast. Fresh from Oscar-winning work on "Cleopatra," the Twentieth Century Fox design team of John DeCuir and Jack Martin Smith stunningly recreated the ecclesiastical glory of 16th century Rome. Among other Oscar winners for "Cleopatra" were Vittorio Nino Novarese, whose costumes glow in reds, crimsons, and golds; and Leon Shamroy, whose color cinematography gloriously captures the period detail. A fine score by Alex North, another veteran of "Cleopatra," further enhances the visuals. Carol Reed's adaptation of "The Agony and the Ecstasy" is eye, and some times ear, candy, especially for those interested in art history; the scenes that detail the creation of the Sistine Chapel ceiling are particularly fascinating. However, beyond the visuals and an award-worthy performance by Rex Harrison, the film is thin on drama and weak on historical accuracy.

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9/10

" If The Wine is sour, . . . . throw it out !

thinker169126 July 2008

During the 16th century, many artists arrived in Rome to fulfill their dreams of earning a place in the "Book of Florence." Among the top five, two stand out with little or no further introduction, other than their names. Names which today personify the epitome of the Renaissance artists. The first is Leonardo de Vinci and the second is Michelangelo Buonarroti, (Charlton Heston). This film, "The Agony and The Extesy" is the story of the latter. Based on a novel by Irving Stone, it relates the clash of tempers between Pope Julius II (Rex Harrison) and the artist who claimed he was first and foremost a sculpturer. Through the turbulent years of Julius's reign, during which time he tried to unify the Papal States by force, he gave a most difficult, nay, nearly impossible commission to Buonarroti, to fresco the ceiling with some "Appropriate Design" for the Cistine Chappel, on his back, on a curved surface 70 feet in the air. The film illustrates the great suffering the artist endured for a commission he never asked for. During the same time, the pope did his best to make a bid for immortality, by forcing the painter to do the impossible. The fact we are given Harry Andrews to play Bramante, who is the pope's architect and Adolfo Celi as Giovanni de Medici, adds to the film becomes history in the making. The movie itself is classic in nature and it's effect is breathtaking in it's climatic rendering. Excellance is the final gift. ****

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7/10

The painter and the pontiff.

brogmiller9 May 2020

I cannot but feel that Carol Reed's film has been too harshly judged. It is not a masterpiece by any means but a noble attempt to portray 'Genius'. Grasping this elusive quality is difficult for any director and nigh on impossible for any actor.

The history of film-making is full of 'might have beens'. Had production not been so long delayed we might have seen Burt Lancaster as Michelangelo Buonarotti but the challenge fell to Charlton Heston. If Laurence Olivier had been available we would not have had Rex Harrison as Pope Julius. By all accounts Heston and Harrison did not get on which certainly aided their scenes of antagonism. The best scene between them is actually one of comparative amicability in which they are looking at the fresco of God creating Adam. A beautifully written scene and beautifully acted. As mentioned earlier Heston has the unenviable task of portraying a man known even in his own time as 'Il Divino'. Although his undeniable presence and good voice serve him well he lacks alas the inner fire and dynamism that a creative artist of Buonarotti's immensity must have possessed and is, I fear, rather dull. As the Pope the imperious Rex Harrison is a wonder to behold. Heston called him a 'thoroughbred' and that describes him perfectly. Skittish, temperamental and oozing sheer class. Should you be expecting the bearded pontiff of Raphael's famous portrait, Mr. Harrison refused either to sprout one or stick one on. Diane Cilento is effective as a daughter of Lorenzo de Medici and her presence is obviously designed to give the film some emotional balance. She does not hide her love for Michelangelo but from what we know of him she was barking up the wrong tree!

Naturally the production values here are superb and Leon Shamroy's cinematography is outstanding. Very good score by Alex North but Gerry Goldsmith is uncredited for the music that accompanies the excellent twelve-minute prologue. Philip Dunne has adapted well what is essentially one chapter of Irving Stone's massive novel.

Michelangelo outlived his patron by fifty years and was still sculpting days before his death.. Goethe wrote that 'until you have seen the Sistine Chapel you can have no adequate conception of what man is capable of accomplishing'. An even greater accomplishment considering Michelangelo's own words: " I am no painter."

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9/10

Purportedly a biography of Michelangelo, it turned out to be that of Pope Julius II

Deusvolt28 January 2005

The movie is better than the book in the sense that it is kinder to Michelangelo. Remember that in the book there were hints of the artist's latent homosexuality to explain his lack of interest in women. In the movie, this is attributed to his dedication to his artistry. His greatest rival in the arts, Leonardo da Vinci also does not figure in the movie, but to no great loss as his presence would have needlessly complicated the plot.

The movie portrays Pope Julius II, "the warrior Pope" in good light. He took up the sword to finally bring an end to French interference in the papacy (cf. the "Babylonian Captivity" of the papacy in Avignon). And of course, despite the notorious division of Italy into city states, he struggled to free that country from foreign domination while keeping the papal states intact.

Rome is correctly shown as a city in decay during the Middle Ages. It took Julius II to finally build a Basilica worthy to be the focus of world Christianity. His patronage of the arts and of grand architecture enabled Rome to justly keep the title "The Eternal City."

In the end, Julius II may be judged as a competent monarch and in his way, a faithful priest who initiated many reforms to curb corruption among the clergy.

Heston and Harrison, both great actors, brought out the best in one another as they gamely sparred in this immortal film - one as the driven and haunted artist, the other as the saturnine Pope fighting to preserve the temporal power of the papacy against all odds.

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6/10

Harrison's show all the way

MOscarbradley17 April 2017

Not quite the disaster the critics made it out to be but hardly likely to be remembered among the best of Carol Reed. It was a prestige production done on a grand scale but neither Philip Dunne's screenplay nor, indeed, Irving Stone's original novel were inspirational. The subject, of course, is Michaelangelo's painting of the ceiling of the Sistine Chapel and Charlton Heston, who else, is a hugely miscast Michaelangelo, (he's heterosexual, for starters). He does what he can with the part but the material defeats him. On the other hand, Rex Harrison not only carries the movie but redeems it. He barnstorms his way through the part of Pope Julius II, the man who commissioned Michaelangelo in the first place. He even manages the fanciful dialogue, barking it out as though it were Shakespeare. There's also a decent supporting cast, both British and Italian, with the Italians largely dubbed, but they too are wasted. Does it give us any insight into the man or his work? Absolutely not, but as epics go it's a pleasant enough time-passer.

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8/10

When will you make an end?

hitchcockthelegend7 April 2008

When I am finished!

And so it be that that is the often repeated exchange between Rex Harrison's Pope Julius II & Charlton Heston's Michelangelo, and thus we have the basis for the film version of Irving Stone's novel The Agony & The Ectasy. This is a fictionalised account of how Michelango came to paint his masterpiece on the roof of the Sistine chapel, focusing solely on the two main characters of the piece, The Agony & The Ectasy is a character and dialogue driven piece of work.

I'm not here to give you a history lesson on the Renaisssance painters or the background to Pope Julius II (The Warrior Pope) and his term of office, there are many well written comments on this site that revel in that side of things. I'm here purely as a lover of this film and to tell you that I do indeed love it regardless of the obvious historical failings. It spins a smashing story of two great men driven to distraction by each other on account of each respective man's blustery ego, both men seemingly failing to realise that what irks them so, does in fact flourish the soul. Thankfully the two lead actors here put up a special show to carry the film with ease, with both Heston & Harrison really getting their teeth into the roles to feed off of each other with quality results - with one scene having Michelangelo goad Julius off of his sick bed being particularly memorable.

The toil and time consuming lengths that Michelangelo went to finish the wondrous ceiling of the chapel is perfectly captured by the pacing from director Carol Reed, and it's within this mindset that I personally feel engrossed with the characters from beginning to end. Though it should be noted that the film is not without moments of humour, some scenes shaking you away from the men's battle of wills to bring dashes of levity. It's safe to say that one should avoid this film if they are after a searing costume drama infused with battles and death encompassing romances, this is purely for those after fine art, fine acting, and most of all, fine story telling. 8.5/10

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7/10

Agony and the Ectasy

terry-bridges21 October 2006

A film which must been seen in the theatre! On DVD it is fine, but even widescreen ts cannot show the full scope of the final shots of the chapel ceiling. Harrison was to me the better actor. Heston as usual was okay. The Italian cast members were spoilt by the bad dubbing. The DVD version is complete, including the interval music and the welcome return of the travelouge, originally shown in the cinema on it's first release. The scene at the end of the first part is also impressive in wide-screen in which the cloud formations give Michelanglo the visions for his painting. Apart from the opening title I do not think that Newman's score is one of his best

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3/10

Love it or hate it movie

HotToastyRag1 February 2023

There have been many puns about the film The Agony and the Ecstasy, but it really does seem to be a love-it-or-hate-it sort of movie. If you're genuinely interested in the time period of Michelangelo and you adore the Sistine Chapel, there's a good chance you'll find the two hours a real pleasure. If you don't really care, and Rex Harrison has a tendency to get on your nerves, the movie will be more than a bit tedious.

For me, although I've seen the Sistine Chapel in person, I really wasn't riveted by this movie. I recognized that it was an epic and a lot of effort went into it, but I didn't really see it as anything more than Ben-Hur arguing with Henry Higgins for two hours and eighteen minutes. I probably wasn't the target audience, as I'm not really an art lover and I don't pay very good attention to wordy, stilted, old-fashioned dialogue. Give it a chance if you are the target audience, and you might also find you like A Man for All Seasons, which I also found boring.

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