Editorial Review:

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Carol Reed (The Third Man) directed this 1965 portrait of the relationship between Michelangelo (Charlton Heston) and Pope Julius II (Rex Harrison), who commissioned the artist to paint the Sistine Chapel ceiling. Based on a novel by Irving Stone, the script plods along, juggling the dynamics between the two men along with a somewhat perfunctory love story and distracting battle sequences. Reed seems more attuned to the nuances and great pains of the artistic process, as seen in sequences of Michelangelo working. But the overall focus of the film is unfortunately fuzzy. --Tom Keogh

Description:
Charlton Heston and Rex Harrison portray two of the Renaissance's most colorful figures in this historical drama based on Irving Stone's best-seller set in the early 16th century. When Pope Julius ll (Harrison) commissions Michelangelo (Heston) to paint the ceiling of the Sistine Chapel, the artist initially refuses. Virtually forced to do the job by Julius, he later destroys his own work and flees to Rome. Eventually resumed, the project becomes a battle of wills fueled by artistic and temperamental differences that form the core of this movie. Nominated for an Oscar® Cinematography and named one of the year's best films by the National Board of Review.

In the wake of Charlton Heston's death, I decided to have a marathon viewing of his films. I rewatched many of my favorites and sought out some of those I had never seen.

"The Agony and the Ecstasy" was new to me. It's not one of Heston's most famous roles, but it's a well-made film and definitely worth watching. It recounts the turbulent relationship between Michelangelo (Heston) and Pope Julius II (Rex Harrison) during the period when the artist painted his magnificent frescoes on the ceiling of the Sistine Chapel.

Heston plays Michelangelo as the proverbial tortured artist, unable to give his passion to a woman because he invests all of it in his work. Mostly he frets around with his brushes, only roaring to life when aggravated by the pope. Harrison is wonderful as the conniving (and miserly) Julius, who loves art as much as warfare.

The film's running time is 138 minutes, but it feels padded as though the filmmakers were trying to create an epic out of what is really a simple story. The first 12 minutes are a narrated mini-lesson on Michelangelo's greatest works. There are many sequences of Michelangelo painting, priests chanting, and choirs singing. There is even an unnecessary intermission after an hour.

But the heart of the film is the relationship between Michelangelo and the pope. Their scenes together are the most enjoyable. The two leads are good in their roles and, except for some awkward dubbing (apparently some of the actors were speaking Italian), the supporting cast is solid. The script is literate and thoughtful. It explores the importance of art in our lives, and the toll it can claim on those who create it. All in all I would recommend "The Agony and the Ecstasy" to anyone who likes Charlton Heston and big historical films.

Average Rating:

Rating: - More Ecstasy Than Agony
In the wake of Charlton Heston's death, I decided to have a marathon viewing of his films. I rewatched many of my favorites and sought out some of those I had never seen.

"The Agony and the Ecstasy" was new to me. It's not one of Heston's most famous roles, but it's a well-made film and definitely worth watching. It recounts the turbulent relationship between Michelangelo (Heston) and Pope Julius II (Rex Harrison) during the period when the artist painted his magnificent frescoes on the ceiling of the Sistine Chapel.

Heston plays Michelangelo as the proverbial tortured artist, unable to give his passion to a woman because he invests all of it in his work. Mostly he frets around with his brushes, only roaring to life when aggravated by the pope. Harrison is wonderful as the conniving (and miserly) Julius, who loves art as much as warfare.

The film's running time is 138 minutes, but it feels padded as though the filmmakers were trying to create an epic out of what is really a simple story. The first 12 minutes are a narrated mini-lesson on Michelangelo's greatest works. There are many sequences of Michelangelo painting, priests chanting, and choirs singing. There is even an unnecessary intermission after an hour.

But the heart of the film is the relationship between Michelangelo and the pope. Their scenes together are the most enjoyable. The two leads are good in their roles and, except for some awkward dubbing (apparently some of the actors were speaking Italian), the supporting cast is solid. The script is literate and thoughtful. It explores the importance of art in our lives, and the toll it can claim on those who create it. All in all I would recommend "The Agony and the Ecstasy" to anyone who likes Charlton Heston and big historical films.

Rating: - agony and the ecstasy
great movie and speddy delivery make me want to buy more from the seller

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Rating: - It is yours only when I give it to you.......
Curious story of what can result when we are pushed beyond our anticipated limits by unusual mentors. Another appropriate title could have been..."The stubborn vs the headstrong" Both lead did a wonderful job of bringing their charactoers from the screen into the living room. Loved this line....."It is yours only when I give it to you."

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Rating: - A Classic that will not disappoint
The Agony and the Ecstasy is a wonderful adaptation of Irving Stone's book. Heston's portrayal of Michelangelo conveys the attitude of the tempermental artist to perfection, while Harrison's role as Julius II gives a down-to-earth view of the "warrior pope," ending somewhat more sympathetically than one might expect--and probably rightly so. If you like stories dealing with the battle of wills, or if you are a fan of Renaissance hisotry/art/anything, this film is well worth it.

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Rating: - waste of time
this was not a good movie when first released and it has not improved over time. the acting is stilted and over the top, the script poorly done and full of angst. Heston and Harrison are annoying enough when seen individually but are almost ridiculous when on screen together.

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