The Agony and the Ecstasy

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Lanfranco C The passion of Michelangelo for His Art in a nice reconstruction of Rome in the XVI century Rated 3/5 Stars •  Rated 3 out of 5 stars 02/16/25 Full Review S R 12/15/23 - watched it again. It was tedious at times, but still well made, acted and directed. I did enjoy the introduction to the artist and that made me appreciate his work shown a bit more. Saw on TCM. Saw it ages ago and it still has stayed with me. Excellent performances and information about Michelangelo. Rated 4/5 Stars •  Rated 4 out of 5 stars 12/16/23 Full Review steve d There isn't much here besides religion. Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 03/30/23 Full Review Audience Member Poor, historically inaccurate portrayal of how belief in ancient fables could capture parts of the world. Despite all the (multitudinous) evidence to the contrary, there are still some who will see this somehow as "religion" when it is nothing more than men battling, conquering, and dominating others for their own selfish reasons. Heston is usually bad, but here he is just mediocre, making this a movie about Rex Harrison, a better actor. Throw all rationality to the side as you watch this -- laugh if you can at the inaccuracies and the unpleasantness of life for everyone in the world who wasn't a world ruler or pope. Rated 0.5/5 Stars •  Rated 0.5 out of 5 stars 02/16/23 Full Review Audience Member Yes, it's stolid and yes, some of the casting is underwhelming - but what rescues this rather lumpen block of art is Charlton Heston, whose surprisingly sensitive and vulnerable Michelangelo more than makes up for Diane Cilento's unsexy Medici and - particularly - Rex Harrison's clipped apparently Surrey-born Pope Julius: all he lacks is a briefcase, a Rolex and a few Lerner-Loewe songs. The last gasp of a particular kind of epic HGV. Rated 3/5 Stars •  Rated 3 out of 5 stars 01/27/23 Full Review Audience Member Carol Reed never lets spectacle overshadow substance. I have this to compare with a recent viewing of Cleopatra, another one of Fox's grand 60s epics, and a failed one. Whereas Cleopatra was just looking at things, Ecstasy has ideas. There's humor, wit, personality where Cleopatra is dry, cliche, and stagey. I love bold, vibrant colors in film, but whereas Cleopatra artlessly vomits every color all over the screen with lots of glimmering gold, Ecstasy is delicate and choice. It's cliche, but it uses blue and orange beautifully, particularly near the end when Michelangelo encounters Pope Julius atop his scaffold, criticizing his depiction as being false, but no doubt admiring the work. Also unlike Cleopatra, where there are no interesting relationships, Ecstasy has a beautifully dynamic, humanistic portrait of the artist/producer relationship - Michelangelo and Julius never stop their bickering, right to the very end; it's a friendly rival connected by faith. Julius is a bastard tyrannical papal authority, and he doesn't even seem to forgive himself for that, but certainly Michelangelo mocks the hell out of it. Michelangelo works for himself, but he bows when necessary. Heston & Harrison have all the chemistry they need to pull it off - I enjoy the shots of Julius walking out to procession in the chapel, looking up at Michelangelo, who looks down over him like a god through the opening in his scaffold. Unlike biblical epics before it, the film shares it's glory with artists over the church; their work, not their fawning to authority, is what measures faith. The film is critical of the church's war-mongering, and Julius is an absolute antagonist. The purpose of cardinal appoinments are mocked in a hilarious juxtaposition between Julius discussing with one of his people about the need for a fourth cardinal to get Michelangelo what he needs -- cut to a red hat haphazardly stuffed over a young boy's head, covering his eyes. I love little jokes like this that find their way throughout the film, detracting from the tedious exercise these epics can be. Michelangelo finding his inspiration atop the mountain, soaring above rippling-like-water clouds, takes it's inspiration from surrealist works. The sky behind him is not meant to look like a real sky, but a painted one to inspire a painter. The clouds become the iconic vision of God reaching out to Man. The sun radiates from behind, creating a glorious backlight against the cumulous formation. Along with the Alex North score, it's a beautiful moment painted by Reed and company. Rated 4.5/5 Stars •  Rated 4.5 out of 5 stars 01/12/23 Full Review Read all reviews

The Agony and the Ecstasy

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