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The Agony and the Ecstasy (1965)

Approved | | Biography, Drama, History | 7 October 1965 (USA)
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The biographical story of Michelangelo's troubles while painting the Sistine Chapel at the urging of Pope Julius II.

Director:

Carol Reed

Writers:

Irving Stone (based on the novel: "The Agony and the Ecstasy" by), Philip Dunne (screen story and screenplay)
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Nominated for 5 Oscars. Another 3 wins & 4 nominations. See more awards »

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Cast

Complete credited cast:
Charlton Heston ... Michelangelo
Rex Harrison ... Pope Julius II
Diane Cilento ... Contessina de'Medici
Harry Andrews ... Bramante
Alberto Lupo Alberto Lupo ... Francesco Maria della Rovere, duke of Urbino
Adolfo Celi ... Cardinal Giovanni de' Medici (pope Leo X)
Venantino Venantini ... Paris De Grassis
John Stacy John Stacy ... Sangallo
Fausto Tozzi ... Foreman
Maxine Audley ... Woman
Tomas Milian ... Raphael
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Storyline

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 <stephan@cc.wwu.edu>

Plot Summary | Add Synopsis

Taglines:

From the age of magnificence comes a new magnificence in motion pictures See more »


Certificate:

Approved | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | Italy

Language:

English | Latin

Release Date:

7 October 1965 (USA) See more »

Also Known As:

Irving Stone's The Agony and the Ecstasy See more »

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Box Office

Budget:

$10,000,000 (estimated)

Gross USA:

$4,000,000, 31 December 1965
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

70 mm 6-Track (Westrex Recording System) (70 mm prints)| Mono (35 mm prints)

Color:

Color

Aspect Ratio:

2.20 : 1
See full technical specs »
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Did You Know?

Trivia

Pope Julius II was known as "The Warrior Pope" during his lifetime. See more »

Goofs

As shown in the movie Michelangelo created a flat wooden platform on brackets built out from holes in the wall, high up near the top of the windows. But contrary to the depicted on the film, he did not lie on this scaffolding while he painted, but painted from a standing position. See more »

Quotes

Pope Julius II: What do you think we should do here? Bramante wants to pull it down. He likes pulling things down! No, I want to do something less destructive.
See more »

Connections

Referenced in The Agony of Ecstasy (2014) See more »

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User Reviews

 
Battle of Wills Between Michelangelo and Pope Julius--Fascinating
1 July 2005 | by silverscreen888See all my reviews

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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