Action-packed look at the beginnings of the fall of the Roman Empire. Here is the glory, the greed and grandeur that was Rome. Here is the story of personal lust for power, and the ... See full summary »
A knight in the service of a duke goes to a coastal villiage where an earlier attempt to build a defensive castle has failed. He begins to rebuild the duke's authority in the face of the ... See full summary »
Franklin J. Schaffner
In eighteenth-dynasty Egypt, Sinuhe, a poor orphan, becomes a brilliant physician and with his friend Horemheb is appointed to the service of the new Pharoah. Sinuhe's personal triumphs and... See full summary »
Mary Stuart, who was named Queen of Scotland when she was only six days old, is the last Roman Catholic ruler of Scotland. She is imprisoned at he age of 23 by her cousin Elizabeth Tudor, ... See full summary »
Pope Julius is eager to leave behind works by which he will be remembered. To this end he cajoles Michelangelo into painting the ceiling of the Sistine Chapel. When not on the battlefield uniting Italy, the Pope nags Michelangelo to speed up his painful work on the frescoes. Written by
Ed Stephan <firstname.lastname@example.org>
Heston was asked in an interview, which of all the characters he'd portrayed would he like to have as a dinner guest. He said Michaelangelo, but acknowledged that, as the painter did in the film, Michaelangelo would certainly not show up. See more »
Some believe Michelangelo might have been bisexual because he wrote love letters to at least one man and one woman-though some historians thinks this was simply an exercise in writing-yet in the movie he seems to be strictly heterosexual. See more »
Purportedly a biography of Michelangelo, it turned out to be that of Pope Julius II
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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