The Agony and the Ecstasy (1965)

Calificación de los usuarios:

6.9/10   

Director:

Carol Reed

Escritores:

Irving Stone (novel)
Philip Dunne (screen story)

Fecha de Lanzamiento:

7 octubre 1965 (USA)

Género:

Drama | Historia

Frase comercial:

From the age of magnificence comes a new magnificence in motion pictures

Plot:

The biographical story of Michelangelo's troubles while painting the Sistine Chapel at the urging of Pope Julius II.

Plot Keywords:

Pope | Michelangelo | Sistine Chapel | Painting | Italy

Premios:

Nominated for 5 Oscars. Another 2 wins & 3 nominations

Comentarios de los usuarios:

Purportedly a biography of Michelangelo, it turned out to be that of Pope Julius II

Reparto

Charlton Heston	...	Michelangelo
Rex Harrison	...	Pope Julius II
Diane Cilento	...	Contessina de'Medici
Harry Andrews	...	Bramante
Alberto Lupo	...	Duke of Urbino
Adolfo Celi	...	Giovanni de' Medici
Venantino Venantini	...	Paris De Grassis
John Stacy	...	Sangallo
Fausto Tozzi	...	Foreman
Maxine Audley	...	Woman
Tomas Milian	...	Raphael

También conocida como:

Irving Stone's The Agony and the Ecstasy
El tormento y el éxtasis (Spain) [es]
La agonía y el éxtasis (Venezuela) [es]

Duración:

138 min

País:

USA

Idioma:

Inglés | Latin

Color:

Color

Relación de Aspecto:

2.20 : 1

Sonido:

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

Clasificación:

Spain:T | Australia:G | Finland:S | UK:U | USA:Approved | Iceland:12

Locaciones de Filmación:

Dino De Laurentiis Cinematografica Studios, Rome, Lazio, Italy

Compañía:

International Classics

Trivialidades:

Cardinal Giovanni de Medici succeeded to the papacy after the death of Julius II in 1513, becoming Pope Leo X.

Errores:

Errores Reales: Michelangelo was a homosexual, yet in the movie he seems to like women.

Citas:

Pope Julius II: You dare to dicker with your pontiff?

Conexiones de Película:

Referenced in "QI: Film (#6.11)" (2009)

Purportedly a biography of Michelangelo, it turned out to be that of Pope Julius II

The movie is better than the book in the sense that it is kinder to Michelangelo. Remember that in the book there were hints of the artist's latent homosexuality to explain his lack of interest in women. In the movie, this is attributed to his dedication to his artistry. His greatest rival in the arts, Leonardo da Vinci also does not figure in the movie, but to no great loss as his presence would have needlessly complicated the plot.

The movie portrays Pope Julius II, "the warrior Pope" in good light. He took up the sword to finally bring an end to French interference in the papacy (cf. the "Babylonian Captivity" of the papacy in Avignon). And of course, despite the notorious division of Italy into city states, he struggled to free that country from foreign domination while keeping the papal states intact.

Rome is correctly shown as a city in decay during the Middle Ages. It took Julius II to finally build a Basilica worthy to be the focus of world Christianity. His patronage of the arts and of grand architecture enabled Rome to justly keep the title "The Eternal City."

In the end, Julius II may be judged as a competent monarch and in his way, a faithful priest who initiated many reforms to curb corruption among the clergy.

Heston and Harrison, both great actors, brought out the best in one another as they gamely sparred in this immortal film - one as the driven and haunted artist, the other as the saturnine Pope fighting to preserve the temporal power of the papacy against all odds.