LouHomey From my favorite movies..

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Edwin The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Ian (Flash Review)This film paints a picture, pun intended, of the process for how the Sistine Chapel got painted. Pope Julius II commissioned Michelangelo, who was primarily a sculpture, to tackle this impressive frescoes task. Amusing to think Michelangelo's 2nd best trade was painting vs chiseling figures from stone! During the project the two men banter back and forth upon the direction of the frescoes, time it is taking and compensation, which is actually mildly amusing. Pope Julius II is a beast, odd way to describe a Pope, as he still fought in battles on a horse while wearing battle armor. Overall, it doesn't feel as long as it is while it has an epic feel to it. It has some nice historical scenes of the wax and paint dripping in Michelangelo eyes and face and the exhaustive toll it takes on both men. Additionally, the first 15-20 minutes of the film was an actual documentary of the historical Italian art and artists to set the stage for how magnificent the Sistine Chapel truly is.

pruiett This movie is a credit to the producers. It shows the Pope of Rome as human, and as a man who understands his weaknesses and God's greatness. I am a Baptist and hence do not hold to Roman Catholic theology. However, it is fair to say that the two main characters, Michelangelo and Pope Julius do a good job of pointing to the bigness of God and the smallness of man.The movie has some very good statements about God and His sovereignty. The Pope in a weak and humble moment is found by Michelangelo kneeling with a candle at the top of the scaffolding under the panel depicting creation. He asks with awe and wonder about how Michelangelo came to the image of God and man. The Pope then stated, "There is God Who created man, and the artist who was moved to paint the image . . . I am merely a Pope." And he meant "merely a Pope." He understood his smallness. At the end the dying Pope says to Michelangelo, "When I stand before God in judgment, I will place this ceiling in the balance against my sins . . . perhaps it will shorten my time in purgatory." Again, I do not hold to purgatory. But the Pope understood that only those things done for the glory of God will last. Good movie and does honor to history, WITHOUT bad language or sexual content. Good family fare.

Marcin Kukuczka While returning from Tuscany, which, as a region of Italy, may be justly called 'the pearl of art', our group decided to see the film about Michelangelo Buonarotti (1475-1564). Being influenced by the genius encountered in Florence, by the divine works of great artists, what better choice to make than watch an ambitious movie made in Hollywood in the heyday of timeless productions? "Charlton Heston in the lead, Rex Harrison at his side, Harry Andrews and Adolfo Celi among the supporting cast..." said the presenter. However, do these names indicate anything for a modern movie buff? Some of us had doubts whether the people will find such a film interesting. Nevertheless, after a few minutes of watching, most of our group were convinced to fill the last evening of our journey with this movie.THE AGONY AND THE ECSTASY is a story of an artist, of his struggles, his pains, yet, a great passion that fulfills itself in the creative power of inspiration. It is a touching tale of a divine artist being put at the doorsteps of worldly might. It is a mesmerizing story of two worlds: the one which quickly receives its glory at once and the one which takes pains throughout the tedious way towards perfection. How then is it possible for the world of 'quick victories' not to ask impatiently: "When will you come to an end?" However, there appears to be something that may unite these worlds, the visions indicated in a beautiful scene...Here, let me broaden the theme that I have just mentioned above. The figure of Michelangelo (Charlton Heston) appears to be clearly contrasted to the figure of Pope Julius II (Rex Harrison), not the pope of our modern understanding as a purely spiritual leader for some people, but a leader of the army, a warrior who never stops thinking that God is at his side. How, then, can the two understand each other? How can Michelangelo's subtle spirit of inspiration go with Julius' loud drums of battle field? Great, absolutely magnificent performances by Heston and Harrison highlight this aspect even more clearly in lots of memorable moments. They impact upon viewers powerfully.THE AGONY AND THE ECSTASY is also a captivating story of jealousy, hostility, disapproval that a true artist must experience in order to get through the 'catharsis' towards perfection. Michelangelo is showed in his famous period of life (years 1508-1512) when he was painting his well known masterpiece, the Sistine Chapel in Rome. He is indefatigable in that search for beauty of inspiration and never ending capacity of creation, which is memorably proved by the last scene of the movie...The performances are very good, but, as I have already mentioned: Heston and Harrison shine in their roles, not in terms of looks, since Rex Harrison's face, for instance, hardly resembles pope Julius' face that we know from the famous portrait by Raffaello Sanzio, but in terms of character portrayals. Other cast, including Harry Andrews in the role of Bramante and great Italian (Sicilian) actor Adolfo Celi as Giovanni Medici are memorable and accurate. They and most of the other supporting cast prove the fact that THE AGONY AND THE ECSTASY was truly a valuable mutual undertaking. The visual aspect, though sometimes flawed, wins thanks to wonderful sets in picturesque locations of Umbrian and Tuscan landscapes.In sum, the following reflection appeared after viewing the film: although true art appears to be vague for many, it steps powerfully throughout the ages of human history. That is why genius may sometimes be at the doorsteps of power in order to rise again being unpredictably given life by the Divine Hand. That is what we partly encounter in the glamor and splendor of the Sistine Chapel...A good film deeply rooted in the pains of the artist but well understood when combined with the essence of Michelangelo's masterpiece.

clivey6 Okay, okay, it's not that bad, I just had to use that joke... Then again, it's a close thing in the early days. It begins with a 10-minute rushed bio of Michelangelo narrated by an American who's no Kenneth Clark... it sounds like those awful Disney documentaries. Lots of shots of Michelangelo's sculpture and so on...Then the movie gets underway and it's Heston as the artist and Harrison as the Pope. Except they always play the same types mostly, so it sort of lacks credibility. Harry Andrews wasted in a support role. Adolfo Celi, who played Largo in Thunderball one year earlier, is dubbed (badly) into American. Diane Cilento, Sean Connery's then-wife, is a not very attractive harpy type, a kind of love interest/shoulder to cry on. During one awful moment she bucks up the distraught artist, saying, "And get that ceiling finished!" sounding for all the world like some nagging housewife. "And then you're to fix the garden gate and call round my mother-in-law's!" It gets better as it goes on, after the interval. And it's good to see Harrison playing a more devout type, rather a rascally self-centred rogue. But much of it seems to be about conflict and argument for the sake of it, to create a drama of some kind.