The Agony and the Ecstasy Reviews

• "I planned a ceiling, he planned a miracle"

  
  By AQ8DU6XVA3USJ on 2004-05-16
  There is no other film on the subject of art that is better than this one in my opinion. Irving Stone's best-seller was a great read, but in this case the film is better than the book. It centers on the creation of the Sistine Chapel ceiling, and the contentious but invigorating relationship between Michelangelo and Pope Julius II; one drove the other "to complete his work", and even their verbal battles were productive. It is about the courage of putting one's vision into reality, the hard work, and the faith in one's self and in God.

  The script by Irving Stone and Philip Dunne is fabulous; the words flow like sweet wine and there is not a single unnecessary scene, or rarely one that is not meaningful. The direction by Carol Reed is meticulous, the cinematography by Leon Shamroy a marvel, and the score by Alex North adds much to the film. The costuming and sets are lavish for the papal quarters and the Medici household, and give one a sense of 16th century Rome, and the depictions of the fresco painting technique is interesting and educational.

  Charlton Heston, gaunt and bearded, is brilliant as Michelangelo, as is Rex Harrison as the warrior pope. The interactions of these two actors is riveting, and the dialogue between them worth hearing repeatedly. Others of note in the cast include Diane Cilento as the Contessina de Medici, Harry Andrews as Bramante, and Tomas Milian as Raphael (the most famous papal portrait I know of is by Raphael, of Pope Julian II).

  Though Stone's book and script take much artistic license, there is also a good deal of accuracy. This period of 16th century Italy was one of the most fascinating in all world history, and Pope Julius II was not only one of its greatest art patrons, but also an extraordinary man.
  This is a film that moves me to tears with its beauty, and brightens my mind with its words. If you are interested in the artistic process, don't miss this magnificent film.

  The film includes a Prologue, a mini-documentary of modern-day Rome and Florence, which traces Michelangelo's life, from his birth in Tuscany in 1475, showing his many wondrous works, including an early sculpture he did at the age of 15, through his death in 1564. Total running time is 139 minutes.
  
  

• Almost a spiritual journey

  
  By A1D2C0WDCSHUWZ on 2000-08-07
  Though I am useless at sculpting and almost so at painting, I have sort of adopted Michaelangelo as my creative mentor. This movie cemented that thought.

  Michaelangelo is a master sculptor from Florence, carving the tomb for the warrior-pope Julius (no, he isn't dead yet even though they're carving his tomb). But Julias drags him from his commission for another one-paint the ceiling of the Sistine chapel with "appropriate designs." Michaelangelo, who has only dabbled in fresco painting, is both enraged and inspired. He destroys the paintings and runs away from Rome, but returns when a vision shows him how the ceiling should be. Both men, creator and destroyer, artist and pope, are changed forever by the "work of love" that is the Sistine Chapel.

  Charlton Heston was in fine form in this movie-he makes you feel everything that Michaelangelo feels. I sometimes think that the real men rather than the monuments (like Moses) that he plays are more his style. He does it realistically, wearing ratty clothing and often covered with paint dribbles. Michaelangelo does not stay the same-at the end of the movie, he is a humbler and wiser man than before.

  And don't diss Rex Harrison-once I got over the "Doctor Doolittle as pope" thing, I found him very enjoyable. He manages to overcome some lines that would make me giggle in his place, including, "Is it proper for your pontiff to conduct Mass in a barn?" He makes you hate Julius initially, but as the movie progresses you grow to love him as much as Michaelangelo.

  There are some truly excellent secondary characters, like Tessina the noblewoman who sort-of-secretly loves Michaelangelo, but understands that his paintings come first. Her brother, a Medici cardinal, seems a bit stilted, though. Tomas Milian plays another famous Renaissance artist, Raphael, who shows up with only a few lines of dialogue, but changes the course of the movie. Oh, and watch out for ice-cold architect Bramante.

  Combine it with the glorious shots of the Sistine chapel's ceiling and Heston painting mockups, and you have a movie that deserves to be a classic.
  
  

• Surprisingly good restoration of a Todd-AO clunker

  
  By A1G6NL5AQMZDAC on 2005-05-08
  I'll leave the artistic merits of this movie for others to argue over. Suffice it to say that it moves at a leisurely pace, and that the two main actors (Heston and Harrison) take turns mugging, gnashing their teeth and chewing the gorgeous scenery. However, since Amazon's product listing doesn't list the technical specs, here they are:
  
  This DVD release of THE AGONY AND THE ECSTASY was made from the original 65mm Todd-AO negative, digitally restored. Aspect ratio is correct at 2.20:1, anamorphically enhanced for widescreen TVs. The colors are deeply saturated, and the picture looks quite sharp, with little grain on my high-end Sony HDTV CRT.
  
  The available soundtracks (all Dolby Digital) are 1.0 mono English, 2.0 stereo English, 1.0 mono French and 1.0 mono Spanish. (Contrary to what another reviewer here says, there is NO 5.1 surround soundtrack -- a sorry deficiency for a film originally released in 6-track.) IMPORTANT: On my copy of the disc, the DEFAULT soundtrack is the 1.0 mono English. There is no separate menu for selecting the audio you want, so you must press the AUDIO button on your DVD remote ONCE to get the 2.0 stereo English soundtrack. You'd think Fox would want people to hear the stereo track by default!
  
  The good news is that the 2.0 stereo track is very clean, with the original 5-channel screen spread and directional dialogue faithfully preserved. It's not as full and crisp as a modern soundtrack, but remember that this was recorded forty years ago. If you listen with headphones, it's easy to hear how much of the dialog was re-recorded on a dubbing stage. In a few intimate scenes, though, the whirring of the camera is faintly audible.
  
  Alex North's score has some nifty stereo effects, even if the title theme is disturbingly reminiscent of Strauss' Also Sprach Zarathustra.
  
  The disc includes the complete roadshow presentation: modern-day introduction (with beautiful aerial photography and closeups of Michelangelo masterpieces), intermission music, entr'acte music and exit music. There is also a demonstration of the 65mm restoration process, and some trailers of other Fox epics from the 50s and 60s, including THE ROBE and THE BIBLE. (None of these extras are mentioned anywhere on the packaging.)
  
  If you're hoping to savor the grandeur of the 60s widescreen epics, this disc will not disappoint.
  
  

• Excellent movie

  
  By A3H4IJ9QONM0JK on 2000-09-24
  Very few movies have I seen where the passion of the artist is so talently displayed. The technical beauty and historical accuracy of this film is masterful. Charlton Heston as always gives a melodramatic performance, yet despite its two dimensional aspects, he gives life to Michealangelo. Its very ironic to see Heston, a man of conservative and right wing views portay the misunderstood artist so well. Many highlights and themes of the artist's life is portrayed such as his love of sculpture, and even hints of his possible homosexuality. Just as well is Harrison's portrayal as Julius II. The interplay between these 2 characters of passion and ego was very entertaining. Often the life of the artist who truly wants his/her creation to be true to the vision of the mind's eye is one filled with intense passion which often times can be painful. Many works of art such as the Sistine Chapel took years of intense painstaking labor to accomplish. It was a life I considered living, and sometimes still think about, and only this movie and perhaps Kirk Douglas's movie Lust for Life have portrayed this life of painful passion well. Michealangelo and the Sistine Chapel are subjects I have studied extensively as an artist and amateur art historian, and this movie has done an excellent job portraying both.
  
  

• The Grandeur that is Charlton Heston

  
  By A2ZR5EUYPX69CB on 2000-03-13
  The Ten Commandments, The Buccaneer, Ben-Hur, El Cid, Planet of the Apes, all great Charlton Heston movies to be sure. But this movie, Mr. Heston's performance as the passionate and complex Michelangelo Buonarroti, is without parallel in any of the previous or since roles he has played. His portrayal as the great artist is imtimate and shows a tender side. Futhermore, Rex Harrison as Pope Julius II is also extaordinary. The two men create a fine chemistry of the rebellious artist and the stern yet feeling pontiff who commissions Buonarroti to the great task of the Sistine. This performance peaks when the two men are standing beneath the great and not-yet-finished fresco late one night and reflect over the images of God and Adam-classic acting for certain. Please, buy it, rent it, just as long as you watch it. If you love art, I'm sure you will love this.
  
  
• The Agony and the Ecstasy
  By A21EDRM7Z7XKXW on 2001-09-11
  A Movie dealing entirely with the struggle of two men to create a great piece of artwork amidst the conquests of a warrior pope in the Renaissance. The Agony and the Ecstasy relates the story of an unwilling Michelangelo, portrayed by Charlton Heston, forced to paint the walls of an ill-designed chapel, and who, through great thought, decides that if he must paint, then he will paint flawlessly. Rather than painting the portraits of the Apostles on the walls Michelangelo fills the entire dome of the chapel with beautiful, heart-filled murals depicting certain scenes from the bible. Also representing the attachment of Pope Julius II, Rex Harrison, to the project, Pope Julius is seen ignoring the field of battle to discuss the all-important artistry involved with such a massive project. Finally, the movie portrays the view of the Pope as being most powerful and commanding, able to have his every whim accomplished without delay.
  
  Michelangelo may be seen as the perfectionist artist drawn into a long and grueling task against his will, but who decides that if he must put his name to something that it will be done right. "I was born to sculpt, not paint." He is repeatedly throughout the process asked "When will you have done," to which he always responds "When I am finished". Pope Julius II on the other hand is a despot who allows his warmer side to show only through his appreciation of art. Always greedy, and always in search of saving a ducat, Julius refuses to pay decent wages, but instead uses his title to force Michelangelo to do his bidding. It takes everything Michelangelo has just to convince the Pope to let him paint the chapel as he sees fit. "I will paint men as God made them: in the glory of their nakedness!" The Pope is seen in the movie to be more concerned with Michelangelo's submission than with the work of the Sistine Chapel. He always has to be in charge, even in private; for fear that any compassion would come across as weakness.
  
  I enjoyed this movie and consider it one of Charlton Heston's better works, although he did over-act a little as such is his trademark. I found the prologue, although not necessary to the plot, a nice addition to the video in order to get a wider perspective of Michelangelo's plight in being ordered to paint. The image of the Pope and servant on the scaffolding discussing the work by candlelight is memorable and helped to make the Pope seem just a little more human. Overall, I like this movie, but I was left with the question of--Why, if the Pope is engaged with such bitter conflicts and is on the brink of annihilation, does Julius II make the painting of one of his chapels a top priority?
  
  
• Almost like a fresco...
  By AZDL23124GWH3 on 1999-12-16
  Based on the famous book by Irving Stone ,this 1965 film portrays the stormy relationship between the genius Michelangelo and his patron,the warrior pope Julius the IInd(Erasmus's'Julius Exclusus').The performances of both Charlton Heston (Michelangelo)and Rex Harrison(Pope Julius)are out of this world while the entire cast,decor and settings wonderfully reconstitute the world of the Italian Renaissance.Is this film historically accurate?Totally irrelevant since it creates a mesmerizing and true to life story that is utterly moving and compelling being somewhere in between a movie and a play.
  
  
• Great Historical Fiction
  By A1EBJKTH0V0YKH on 2006-02-27
  I kept seeing this movie on the shelf at my local video store, but -- although it starred two great actors, Rex Harrison and Charlton Heston -- as many times as I picked it up, I kept putting it back, not quite sure what the quality of the story might be. When I finally rented it, I wished I had watched it earlier!
  
  The Sistine Chapel set is fantastic, and the ceiling paintings are vibrant and look identical to the real ones. Impressive! I especially enjoyed the simple yet moving scene in which a discouraged Michelangelo -- who has run away from Rome and gone back to cutting marble in the mountains -- sees in the clouds what he must paint on the ceiling: God reaching out to Adam. Michelangelo stands in awe and quotes passages from Genesis.
  
  The conflict between Pope Julius and Michelangelo is both humorous and poignant. They anger one another yet they push one another to do the impossible. When the puzzled pope wants to know why Michelangelo left, he replies, "You beat me!" When the artist and the pope first interact on screen, the source of conflict is a sonnet Michelangelo wrote about Julius, quickly and simply setting up the push-pull nature of their relationship. There's a bit of reverse psychology that they pull on one another, too, which the pope employs better than the straight-forward Michelangelo, but the artist turns the tables on Julius, and rouses the pope from his deathbed with understated, serious humor (if there can be such a thing).
  
  It's historical fiction, so purists will have to take the FICTION into account when viewing this film. Don't sit down with a biography of Michelangelo or Pope Julius and search for facts. Just enjoy the story! However, the people and the main events of the story did exist, did know one another, did happen. I especially like the prologue to the film, an interesting and moving review of Michelangelo's architecture and sculpture.
  
  The DVD is enhanced, with the picture quality improved over the VHS version that I originally watched, so I definitely recommend the DVD.
  
  Enjoy!
  
  
• The Agony and the Ecstasy
  By A1UZYYJIKPOPY on 2006-03-09
  This is one of the greatest period pieces ever I think. Medici era Rome shows the famous Michelangelo butting heads with Pope Julius II over the ceiling of the Sistine Chapel. Rex Harrison as Pope Julius is unprepared for the scope of artistic possibilities Michelangelo, played by Charlton Heston, sees when he looks at the ceiling. It's a riveting movie. Rex Harrison is always flawless and carries the same air of nobility he showed in 'Cleopatra'. Charlton Heston spends a great deal of the movie pining, suffering, and crying over his art and the mammoth task of actually doing it.
  The cinematography is excellent and scenic, however the film centers completely on Michelangelo and his relationship with the Pope. There is little exposition of the world in which it all takes place.
  'The Agony and the Ecstasy' is an appropriate title. Heston really brings the agony part across. I highly reccommend this film for it's scenery, it's story, and the interplay of two exceptionally talented actors playing off one another.
  Films like it are: 'Cleopatra'
  'The Robe'
  'Demetrius and the Gladiators'
  'The Fall of the Roman Empire'
  'The Courtesan'
  
  
  
  
• "It's only painted plaster, Your Holiness."
  By A2GPEV42IO41CI on 2006-03-01
  This fictionalized account of the painting of the Sistine Chapel ceiling focuses on the battle of wills between the artist, Michelangelo (Charlton Heston), and his patron, Pope Julius II (Rex Harrison). As the story opens, Michelangelo, already an established sculptor, is commissioned by the warrior Pope to decorate his ceiling. Michelangelo doesn't want to do it, preferring to concentrate on the 40 statues intended for Julius' tomb. But the Pope wins that battle, the first of many, for the two men are equally matched in their stubbornness and pride. The work is detailed against the backdrop of Julius' many military battles and we learn a lot about life during the Renaissance. There is a relationship with Michelangelo's childhood friend, the Countess of Medici, that shows his single-minded devotion to his craft.
  
  Both Michelangelo and Julius are portrayed as stiff-necked, driven men who use reverse-psychology on each other to get what they want. The dialogue is literate and yet each line is delivered like a grand speech. We learn a great deal about Julius as a man and not as much about Michelangelo. These are bravura performances by Heston and Harrison; they play men with monumental egos and ambitions but infuse them with human faults and foibles. A wonderful documentary over-view of Michelangelo's work that precedes the film would have been better at the end. I enjoyed the film almost as much as Irving Stone's novel, and that's saying a lot.
  
  Kona
  
  
• agony or ecstasy
  By A1XCVKQ7EUU8TS on 2006-04-15
  ALONG TIME AGO I SAW THIS IN THE THEATER, AND FOUND IT INTERESTING HOW THE PAINTING OF THE CHAPEL WAS DONE. HOWEVER, IT WAS VERY SLOW MOVING, FOR A TEEN AGER. NOW THAT I'VE GROWN OLD, (63), I COULD HARDLY STAY FOCUSED ON IT AT ALL.
  IF YOU ARE INTERESTED IN PURCHASING THIS MOVIE, I WARN YOU IT WILL BE PAINFULLY SLLLOOOOOWWWW. THINK OF IT AS "THE AGONY NOT THE ECSTASY". SORRY MR. HESTON, BUT ITS TRUE. I STILL THINK YOU'RE THE BEST.
  YOUR FRIEND, JEFF
  
  
• An incredible representation of Michaelango & his times.
  By on 1999-04-02
  A wonderful example of the time in which Michaelangelo lived. A good example of the creative process of a masterful painter. Educational on the fressco process when doing the Sistine chaple ceiling. A great documentary preceeds the actual story which is also informative. This is a real classic!
  
  
• More Wanted
  By on 2000-04-23
  I read the book and as much as I enjoyed and continue to enjoy the movie when I watch it again, sadly The Agony and the Ecstasy is not a full portrait of Irving Stone's book. While the passions of the two antagonists - Pope Julius and Michaelangelo are faithfully portrayed, "the agony and the ecstasy" that was life of Michaelangelo in his passion for his craft is not. Charleton Heston and Rex Harrison are superb as Michaelangelo and Pope Julius. The movie however is not telling the truth. According to Stone's book, the Pope did not fight with Michaelangelo over the Sistine Chapel as is portrayed in the movie. Nonetheless it should be watched over and over to understand the heart and the soul of the artist, the moral secular sympathies of an otherwise corrupt pope, and the fiery spirit of the Italian Renaissance. The cinematogrpapy is is great, as is the intelligent preface informing the viewer of a man who believed "he was born to sculpt, not paint." I highly recommend this move.
  
  
• Flawed and bit overweight but otherwise not a bad film
  By A2PXHFGJZBNLXB on 2004-09-01
  I saw this film on VHS in a course about artistic philosophies last semester. I was all set to dismiss it as yet another bloated pictorial Hollywood "epic" starring the granitic Charlton Heston. As it turns out, though...I kinda like this movie. Sure, it is still a bit overweight for its relatively intimate exploration of the artistic process (even though, of course, Michaelangelo's Sistine Chapel ceiling fresco is one of the towering works of art in history, so I suppose the treatment is understandable). All the same, I was drawn to its vivid depiction of Michaelangelo's agonies and ecstasies in the creation of his big masterpiece. Heston may not have ever been a truly great actor---he was almost always rather stolid in the movies he was in---but he acquits himself fairly well here as Michaelangelo, and Rex Harrison gives a finely nuanced performance as Pope Julius II, who gave Michaelangelo the commission in the first place. It is a tribute to director Carol Reed and his crew that THE AGONY AND THE ECSTASY can rise above its extra weight and its cliched (and, by all accounts, nonexistent) central romance between Michaelangelo and the Contessina de Medici (Diane Cilento) to deliver a movie that may not bring great insights into the sometimes-painful artistic process, but still manages to be fascinating and compelling about its central subject matter regardless. Of course it's often always beautiful to look at. That's pretty much a given for these kinds of big Hollywood movies. But THE AGONY AND THE ECSTASY turns out to be something more. Bring this movie to DVD ASAP!
  
  
• Visually Beautiful, Masterwork of Director and two fine actors
  By A2D9TA1EYXA9KR on 2006-07-20
  This film is a classic for all the right reasons: a truly great story of two epic lives entwining, two powerful actors, great Direction by Carol Reed, and luscious, artistic cinematography by Leon Shamroy (Academy Award nominated for Cinematography).
  
  Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II (a warrior Pope) bring out the best in each other's performance, the interplay of their strengths driving each other higher. There simply are no weaknesses in these performances. The screenplay creates some awkward situations, perhaps to move the story along. I can not say Rex Harrison seems at ease on the battlefield, these scenes are an odd juxtaposition of boardroom at the battlefield, and that does not help. And we don't seem him leading a charge, which makes him look a bit ineffective, but these are directorial and editing choices.
  
  The casting of Diane Cilento as the only woman in this piece is the head scratcher. Out of all the actresses in the world at that time, who did she know to get this role? In another film her performance would have been fine, on par with other performances at this time, but contrasted to these two gritty leads, her performance seems flat and superficial. This role could and should have completed a trinity of unrequited obsession, hers being with Michelangelo, but it does not gel, and it is the big disappointment of the film. Jennifer Jones is the kind of actress who was needed, someone who could be quiet and simple, lusty and strong all at the same time.
  
  Still, this is the story of the men, and so perhaps that was part of the Director's intention, women did not have significance at that time, and we feel it in this film. This is the story of men creating their legacies, and it is a legacy in itself for Carol Reed, Rex Harrison, and Charlton Heston. It is a classic, beautiful to look at, and it will outlive them, and perpetuate their names and their art, as befits this story.
  
  
  
• Entertaining But Extremely Superficial
  By ACIBQ6BQ6AWEV on 2005-11-18
  If you go into THE AGONY AND THE ECSTASY with the idea that you will learn anything factual about Michelangelo, Pope Julius II, the Sistine Chapel, and Renaissance Rome--much less art--you are in for a rude awakening. Historians were quick to point out that the film was even less historically accurate than the Irving Stone bestseller on which it was based. Film critics were also harsh: while they described the film as competent, by and large they felt that a movie so crammed with notable talents should have been quite a bit better than it actually was.
  
  There is some truth to these accusations. As a whole, THE AGONY AND THE ECSTASY is essentially a prettified and cleaned-up 1965 idea of the characters and story it offers. Even the alleys are well-swept and the servant drudges remarkably clean, and in terms of visuals and designs the film is nothing so much than THE SOUND OF MUSIC gone Italian. The dialogue is remarkably pretentious and the plot extremely repetitive. And certainly neither Charleton Heston nor Rex Harrison were anything like Michelangelo or Pope Julius II.
  
  Even so, the film works unexpectedly well on its own merits. Heston and Harrison may be incredibly miscast, but they both play with considerable conviction, and their clashing styles lend surprising believability to their scenes together. While a more accurate portrait of the era would be more interesting, one can't complain about the entertainment value involved; there is always something to see on the screen. And although director Carol Reed and writer Philip Dunne play fast and loose with the facts, the story they offer is quite entertaining.
  
  This is not a great masterpiece of cinema, but it is a lot of fun to watch--as long as you don't take it too seriously as either history or art. The bonus package is quite slight, but the restoration is very nice, and the film comes with the original and interesting documentary on Michelangelo's works that prefaced it when it was in theatrical release. While I would not place this on a short of list of films to own, it is a pleasant enough way to spend a rainy night, particularly if you are looking for a film the entire family can watch together.
  
  GFT, Amazon Reviewer
  
  
• Agony and Ecstasy DVD Review
  By ADO9NKZB1YKPE on 2006-06-30
  Great movie to see after visiting the Sistene Chapel! It brought the beauty of it all back to me. I gained a deeper understanding of the conflict and frustration involved in the making of Michelangelo's masterpiece.
  
  
• Good for the artistry!
  By on 1999-07-30
  I would not watch this film for the acting, but the depiction of the times and detail of the painting of the chapel are very good. Charlton Heston is very much over-acting (as usual), and Rex is overdoing it a bit as well (but better than Chuck). I still can't understand why Chuck is in it (an American?) other than trying to capitalize on his Moses credentials. It would have been nice if they could have expanded the painting/historical aspects more and cut down on the infatuation with the Medici woman he likes as well as some of the battle scenes. They are both unnecessary in this movie.
  
  
• Inspirational Art: Charlton Heston Is Michaelangelo
  By A5ZUZ49YRDPCV on 2003-02-24
  1965: Carol Reed, director of "The Third Man" produces a superb film about the life of the Renaissance master artist and sculptor, Michaelangelo, based on the novel by Irving Stone. Who would have thought that Charlton Heston, the 50's and 60's actor most known for his heroic masculine, larger than life roles such as Moses from "The Ten Commandments" would play the peaceful, pensive artist who created the world's most beautiful cathedral, the Sistine Chapel. Irving Stone's novel focuses on this period in Michaelangelo's life, especially his prominence in Florentine society. The film revolves around Michaelangelo's commission by Pope Julius II to create the Sistine Chapel, a timeless masterpiece for all the ages. In doing so, Michaelangelo takes a tremendous risk, for the Pope can be a very fierce man- at one point he even slaps Michaelangelo.

  Historical inaccuracies pop up as is always the case in historic fiction. For example, Michaelangelo's painting of "The Creation of Man" (God reaching out his hand to touch Adam with life) is portrayed here as Michaelangelo drawing inspiration from the heavens themselves- a ray of light from a cloud. There is romance to the film, not only in aesthetic sense, but in a subplot involving the daughter of a Renaissance art patron who falls for Michaelangelo.

  The rest is purely a feast for the eyes- the high views of Florence with its towering cathedrals and bell towers, the Pieta statues, the Sistine Chapel's interior, fountains and Italian villages. Rex Harris (My Fair Lady) portrays the seemingly indifferent Pope, who is troubled by unrest and war. The relationship between Michaelangelo and Pope Julius is truly the most striking aspect of the drama.

  Both Rex Harrison and Charlton Heston should have won Oscars for roles which were outside their mainstream performances. The Pope and Michaelangelo have a intense relationship, one of compromise, one of admiration and loyalty, one of devotion to God. Michaelangelo as an individual is of course the very essence of this film, particularily as he struggles with social issues and inner conflict to paint the Sistine Chapel.

  The Agony and the Ecstasy is just that- the pain of creation, or "giving birth" to something so magnificent and the pleasure and enjoyment of the finished work in the end. Of course this can apply to the fundamentalist view of God's creation, who "rested" after making the world and found it to be "good". This is a great film and educational for art history students. Five stars. Well done. I would like to end with an interesting fact. One of Michaelangelo's last written memoirs or documents was found in his studio, a letter of advice given to an apprentice of his. It read something like this "But above all, draw Antonio! Draw!."
  
  

• Art vs Commerce
  By A2SHF3F8N7HGS3 on 2003-10-29
  What I found fascinating was the PROLOGUE: "The Man Who Didn't Want to Paint." This would normally be an "extra" on any DVD (unfortunately, so far, no DVD of the feature has been released). It is here on the VHS tape, as part of the feature. It runs about 20 minutes, but one should not fast-forward through it. It is fascinating, and adds tremendoubly to the enjoyment of the main feature. In fact, movie channels sometimes run this as a featurette without running the full film. And that's just fine with me.
  Also, one should see this film in the "Letterbox" format to get the true scope of what director Reed was trying to present. "Full Frame" or "pan and scan" versions add electronic edits where none existed in the original and can chop up a film unnecessarily.
  True, this feature reads like a "Reader's Digest" version of the life of Michaelangelo; a sort of "highlights" of the man's life. It does heavily concentrate on the on-again, off-again relationship with Pope Julius II, and sllows Harrison do drop in his deliciously dead-pan one-liners.
  Should a new version of Michaelangelo's life be filmed (perhaps as a miniseries)? Most definately. Should an actor who more resembled the artist be cast? Yes. But, remember that AGONY was filmed in the 1960s and star power was the order of the day. Heston was hot; so was Harrison (My Fair Lady). Mr. Heston, however, has left, in print, his impressions (not all of them flattering) of both Harrison and Mr. Reed in his DIARIES. Sometimes, they make more interesting entertainment than the movie, itself.
  
  
• Inspiration makes master pieces. Not the money and muscle power!
  By A3RM5Y40S6ROBH on 2006-03-27
  Pope wanted Michaelangelo to paint the ceiling of a church. Michaelangelo, who was a sculptor refused to do the job. Facing death threat, he ran into mountains. Drawing inspiration from the images from sky, he created a masterpiece that has been living till today.
  
  Great screenplay, only matched by war of witty words.
  
  Thank you Michaelangelo!
  
  
• The Agony and the Ecstasy
  By A2918DZ81VPACA on 2007-08-16
  I purchased it after visiting the Sistine Chapel and wanted to see Hollywood's idea of how Michaelangelo painted the ceiling. It seemed very accurate and also reminded the viewer that in the Renaissance, the Pope was as much a war lord as he was the Holy Father. Charlton Heston and Rex Harrison were matched perfectly for this film, lots of subtle humor showing how subborn both of the characters were. Into history? Art? I'd add this film to my collection.
  
  
• More than average...
  By on 1999-11-07
  What a mediocre movie...No soul, surely no ecstasy at all, did they even read Stone's biographical novel before shooting this movie ? Charlton Heston is lame, Harrison too wordy and really overacting...Plus, the movie is far too artificial and Hollywoodian, you don't feel like being there, with Michelangelo in Firenze or Roma. Keep away from this one...unless you hate Michelangelo !
  
  
• Hollywood Junk
  By A1RZ5YYMX2Q482 on 2002-09-25
  Charlton Heston was as best wooden, and if you are educated enough to know the real, not the Hollywood interpretation on the life of Michelangelo you will of course know that it bears little resemblance to any factual documentary. The true story is of course far more interesting, than the puerile American dribble that is portrayed in this heap of sentimental, unintelligible, misinformed, junk.
  
  
• Superb History Of The Painting Of The Sistine Chapel Ceiling
  By A2TOU0N8XE68W4 on 2005-05-31
  No movie no matter how detailed its research and visual scope, would ever be able to properly capture the true magnificence of the ceiling in the Sistine Chapel in the Vatican. Having seen the paintings on two occasions in Rome one can't help but be awed by their brilliance and vividness brought to life as they were by the legendary sculptor/painter Michelangelo. Twentieth Century Fox's lavish production of "The Agony and the Ecstasy", which chronicles the trials, tribulations, personality clashes, and sheer back breaking work that went into the realisation of one of the world's greatest art masterpices however does come close in my belief to showing how it would have been during its creation. Attacked by critics for its supposedly florid melodrama, theatrical performances, and unconvincing characters, I think this film is long overdue for a reappraisal as a recent screening revealed to me the many wonderful qualities that this film possesses.
  
  Based on the novel by Irving Stone, "The Agony and the Ecstasy", chronicles the battle of wills that breaks out between Pope Julius II, (Rex Harrison), best known as the warrior Pope and his chief artisan Michelangelo (Charlton Heston) over the Pope's commission to the artist to paint the entire ceiling of the Sistine Chapel in the Vatican. Michelangelo initially refuses the job as he sees himself purely as a sculptor and is in the middle of planning an elaborate tomb for the Pope. Backing down Michelangelo reluctantly begins the huge task with a composition based on the Twelve Apostles however the work goes slowly and is not up to the rigid standards that the artist has set for himself. Harrassed by both Pope Julius and his chief architect Donato Bramante (Harry Andrews), Michelangelo eventually destroys the completed panels and flees Rome. With Pope Julius fighting for his life in the wars in Italy Michelangelo has a change of heart and after receiving a pardon from Julius he begins creating a new scheme dealing with the Old Testament stories. The battle of wills between the two men however never subsides for one minute and Michelangelo's temper is often openly directed towards his Holiness with little of the resepct that Julius is used to in his position. The state of play continues through the long period it takes to complete the huge task of painting the ceiling. The time spent on the commission however produces another unexpected result when a new grudging appreciation of each man's unique qualities begins to develop between Julius and Michelangelo which is only revealed briefly before the men begin fighting against each other over the Pope's next commission for Michelangelo.
  
  Despite its scope, drama and large supporting cast "The Agony and the Ecstasy", is essentially a two character study and I personally was very impressed by both lead actors performances here despite the critics at the time being divided as to their merits. Rex Harrison was at this time enjoying a boom in his career having just completed his Oscar winning role in "My Fair Lady", and having also picked up another nomination as Best Actor the year before that for "Cleopatra". He makes a most convincing Pope Julius II, all bombastic wind and possessing that arrogant quality that Harrison was so expert at conveying on screen which was just right for the part here. He looks every inch a Pope and he is excellent in those many scenes when he is squaring off against his rebellious chief artist Michelangelo who refuses to be either awed or bullied by him. One of the chief delights of Harrison's performance is shown in the growing frustration that Pope Julius experiences in trying to hurry Michelangelo along to complete his work with their encounters taking on an almost comic tone with his repeated frantic query of "when will you finish?" being regularly answered with a vague "when I'm finished" by an unfazed Michelangelo. The brunt of the criticism on the casting has always been directed at Charlton Heston's choice as the famed Italian painter. I in fact find him perfectly cast as the dedicated painter who reluctantly took on the task of creating one of the world's enduring masterpices. Despite being American somehow he is perfect for the role and conveys beautifully the frustration that Michelanglo felt when this unwelcome commission took him away from his beloved sculpturing. Harrison and Heston have a perfect chemistry as the two antagonists in "The Agony and the Ecstasy", and without that this story would have most definately fallen flat. Supporting performances are very much background decoration here however Diane Cilento as Michelangelo's frustrated love interest the Contessina de Medici, and Adolfo Celi as her brother, and Michelangelo's mentor Cardinal Giovanni de Medici, manage to convey the right Renaissance feel in their parts and visually their costumes combined with the sumptuous interiors of their Palace are some of the richest elements in the overall films. This rich look is the thing that overwhelms me each time I see this movie. Nominated for a stunning five Academy Awards including a much deserved one for cinematography, more than anything else in this production it is the use of especially rich colours that are a real stand out and are of course totally appropriate since the story deals with the realisation of a major painting project. The incredible rich blues employed by Michelanglo in his scenes painting the ceiling of the Sistine Chapel and especially the blood red colour frequently employed in the interior decoration of the Papal Palace and in the Papal robes worn by Rex Harrison gives the film a breathtakingly opulent and regal feel. Certainly the rich look and feel of "The Agony and the Ecstasy", are some of its strong points and make it essential viewing for any lover of lavish historical interiors and costuming.
  
  Recreating history on film always seems to be a risky undertaking given many film maker's habit of attempting to "improve", on the actual facts however I feel that with "The Agony and the Ecstasy",that we have a fairly accurate examination of the real agony and ecstasy that went into the creation of the paintings on the Sistine Chapel ceiling. The famous line from the script uttered by Michelangelo "I planned a ceiling, he planned a miracle", beautifully illustrates the two very often conflicting viewpoints of the two very different and quite extraordinary men who by some miracle in their stormy relationship with each managed to create one of the world's greatest masterpieces. Art lovers couldn't help but appreciate the turmoil and indeed agony that went into creating such a thing of beauty as the Sistine Chapel ceiling and this film pays great tribute to that artistic process. Unfairly dismmissed by critics at the time I feel this effort is one of the better biographical films from this mid 1960's period and deserves to be better remembered than it currently is. Enjoy.
  
  
  
• A Titanic Clash of Wills
  By AQBRMBQ99ESI7 on 2005-07-11
  It opens with a survey of Michelangelo's works that takes almost ten minutes. These are mostly sculptures and the point is made that the famous artist wanted to sculpt, not to paint. Then the real story begins.
  
  Pope Julius II commands Michelangelo to paint the Sistine Chapel ceiling. This is not a commission that the artist wants. He is forced into it by papal fiat. The work does not go smoothly. After making a start of it, the temperamental artist decides upon a much grander scheme. The pope approves but the problem lies in getting the work done in any reasonable amount of time. Deadline after deadline is passed and still the project is not finished. It seems to everyone that it will never be finished but, eventually it is.
  
  This is a story of the battle of wills between a temperamental artist and an autocratic ruler used to having his own way. Each goads the other into acts that would not otherwise have occurred. In the case of the Michelangelo, that is giving up his beloved sculpture to work with paint. In the case of Julius II, it is the military defense of the Papal States against outside invaders.
  
  Charlton Heston does his usual excellent job in his portrayal of the difficult artist. His genuine love of art for art's sake comes through and helps to make the conflict of this film understandable. So too does Rex Harrison do a good job in the Role of Julius II. His stubbornness and force of will sees to it that the chapel is completed. It is for this that he is remembered rather than the preservation of papal autonomy.
  
  A good film that hold the interest.
  
  
  
• A classic Movie.
  By A3AI93BF0WZ6HE on 2006-02-27
  Charlton Heston does it again...a great movie for all to watch and learn much about history.
  
  
• pretty pictures, just turn off the audio
  By A345WVAVMMO6F0 on 2007-03-29
  charlton heston is a heterosexual michelangelo, and rex harrison is a warrior pope in this verrrry loooong telling of the spiritual struggle between the artist and the patron responsible for the creation of the sistine chapel. nice to look at, but an hour-long documentary on the discovery channel would be easier to take.
  
  
• the agony and the ecstasy
  By A3DJU0D62PKESU on 2002-03-26
  i first saw this as a high school student. didn't appreciate it very much at that time. yet, after seeing this again 30 years after, then and only then did i fully appreciate it. why? 'cause in high school, i never had humanities classes yet; only in college did i have thus i learned to appreciate its contents better thereafter. for me, this is a must see movie for those interested in humanities! only wish i can be released in dvd format for posterity sake.
  
  
• Masterpiece of a Masterpiece.
  By A2W1OJTCRB3IO1 on 2005-11-01
  Stupendous over-acting from both Rex Harrison and Our Man Charlton is the saving grace of this lavish movie, which threatens to bog itself sermonizing over religion and art, set in an epoch seemingly dominated by both, The Renaissance.
  
  Adapted from a slice of Irving Stone's book of the same name, Heston is Michelangelo Buonarroti, all melodramatic neck-grabbing and body-hugging, whose quest to complete the Sistine Chapel ceiling fresco is tempered by his patron and inadvertent nemesis, Harrison, as Pope Julius II, who must balance the Chapel commission against his war efforts, constantly spurring Michelangelo into gratuitous melodrama.
  
  The most dogged nullifidian would find inspiration in this tale, through the sheer pioneering brilliance and stamina invested in the completed vault, camera in final scene panning over the Sistine's magnificence, vainly trying to capture on 70mm that which is uncapturable. Goethe effuses: "Without having seen the Sistine Chapel one can form no appreciable idea of what one man is capable of achieving."
  
  Midway to completion, Julius tries to convey the majesty of his craft to Michelangelo, who self-effaces, "It's only painted plaster, Your Holiness." Indeed. And Beethoven's Ninth Symphony is only music notes.
  
  
  

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