ÉVALUATION IMDb
7,1/10
8 k
MA NOTE
L'histoire biographique des troubles de Michel-Ange en peignant la chapelle Sixtine à la demande du pape Jules II.L'histoire biographique des troubles de Michel-Ange en peignant la chapelle Sixtine à la demande du pape Jules II.L'histoire biographique des troubles de Michel-Ange en peignant la chapelle Sixtine à la demande du pape Jules II.
- Nommé pour 5 oscars
- 3 victoires et 9 nominations au total
Fortunato Arena
- Pope's Bodyguard
- (uncredited)
Lars Bloch
- Baron Von Silenen
- (uncredited)
Angelo Boscariol
- Papal Guard
- (uncredited)
Calisto Calisti
- Physician
- (uncredited)
Enrico Chiappafreddo
- Tavern Customer
- (uncredited)
Antonio Corevi
- Banquet Guest
- (uncredited)
Pasquale De Filippo
- Priest Hit by Spilled Paint
- (uncredited)
Histoire
Le saviez-vous
- AnecdotesIn his 1995 autobiography "In the Arena" Charlton Heston denied that Michelangelo Buonarroti was a homosexual. He also refused permission to use scenes from "The Agony and the Ecstasy" in the 1995 documentary "The Celluloid Closet" because he told the filmmakers he had done a lot of research for his role and could assure them that Michelangelo was not gay.
- GaffesAs 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 what is depicted in the film, he did not lie on this scaffolding while he painted, but painted from a standing position.
- ConnexionsEdited from Prologue: The Artist Who Did Not Want to Paint (1965)
Commentaire en vedette
The Agony and the Ecstasy
The film is an epic grandeur feature of a interpersonal tug-of-war between the maestro Michelangelo and Pope Julius II.
I cannot help being shell-shocked to see the reconstruction of the magnificent ceiling though recognizably most of which is the trickery of montage (not in the real the Sistine Chapel, the location was inside Cinecitta Italy instead), but bathing under the glamour and solemnness of the visual wonders, I am stunned to exude my admiration and awe!
The two leads conspicuously stimulate a Moses versus Caesar confrontation, Charlton Heston seems to be more boorish than artistic to manifest a struggled Michelangelo, may God doesn't distinguish his people by their looks. The "agony and ecstasy" is watered down to an underwhelming stalemate thanks to Charlton's outlandish incarnation as the most eminent artist of that time. Rex Harrison, is by far and large worthy another Oscar nomination for his arresting devotedness, which is apt to impress the audience with a mind-blowing bi-polar characterization while good and evil coexist at the same time.
The film was a grave box office fiasco when it came out in 1965, however, judging by my appraisement, its merits still can be appreciated by our generation (a well-balanced script, the haunting original score and all the props and settings). However, the film entirely skipped Michelangelo's sexual orientation and awkwardly ploys a portentous conversation between Michelangelo and his admirer Contessina de'Medici (a over-wise Diane Cilento), which unveiled its cowardliness and helplessness.
My final remark is that as time goes by ruthlessly, art stands still and never fades away, so lucky enough cinema is yet a part of it.
I 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.
utile•71
- lasttimeisaw
- 10 août 2011
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- How long is The Agony and the Ecstasy?Propulsé par Alexa
Détails
Box-office
- Budget
- 10 000 000 $ US (estimation)
- Durée2 heures 18 minutes
- Couleur
- Rapport de forme
- 2.20 : 1
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What is the Japanese language plot outline for L'extase et l'agonie (1965)?
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