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| producer = Carol Reed
| producer = Carol Reed
| screenplay = [[Philip Dunne (writer)|Philip Dunne]]
| screenplay = [[Philip Dunne (writer)|Philip Dunne]]
| based_on = ''[[The Agony and the Ecstasy (novel)|The Agony and the Ecstasy]]''<br>by [[Irving Stone]]
| based_on = {{based_on|''[[The Agony and the Ecstasy (novel)|The Agony and the Ecstasy]]''<br>1961 novel|[[Irving Stone]]}}
| starring = [[Charlton Heston]]<br>[[Rex Harrison]]<br>[[Diane Cilento]]<br>[[Harry Andrews]]<br>[[Alberto Lupo]]
| starring = [[Charlton Heston]]<br>[[Rex Harrison]]<br>[[Diane Cilento]]<br>[[Harry Andrews]]<br>[[Alberto Lupo]]
| music = [[Jerry Goldsmith]]<br>[[Alex North]]
| music = [[Jerry Goldsmith]]<br>[[Alex North]]
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| country = United States
| country = United States
| language = English
| language = English
| budget = $7 million<ref>{{cite book| last=Solomon| first=Aubrey| title=Twentieth Century Fox: A Corporate and Financial History| url=https://books.google.com/books?id=WIZwZOz8LHsC&q=Twentieth+Century+Fox:+A+Corporate+and+Financial+History| year=2002| publisher=Rowman & Littlefield| isbn=978-0-8108-4244-1| page=254| url-access=subscription}}</ref>
| awards =
⚫
| gross = $8 million<ref>{{cite web| url=http://www.the-numbers.com/movies/1965/0AGEC.php| website=The Numbers| title=The Agony and the Ecstasy, Box Office Information| access-date=January 22, 2013}}</ref>
| budget = $7,175,000<ref>Solomon, Aubrey. ''Twentieth Century Fox: A Corporate and Financial History (The Scarecrow Filmmakers Series)''. Lanham, Maryland: Scarecrow Press, 1989. {{ISBN|978-0-8108-4244-1}}. p254</ref>
⚫
| gross = $8,000,000<ref>{{Cite web|url=http://www.the-numbers.com/movies/1965/0AGEC.php|publisher=The Numbers|title=The Agony and the Ecstasy, Box Office Information|access-date=January 22, 2013}}</ref>
}}
}}


'''''The Agony and the Ecstasy''''' is a 1965 American film directed by [[Carol Reed]] and starring [[Charlton Heston]] as [[Michelangelo Buonarroti|Michelangelo]] and [[Rex Harrison]] as [[Pope Julius II]]. The film was partly based on [[Irving Stone]]'s 1961 biographical novel ''[[The Agony and the Ecstasy (novel)|The Agony and the Ecstasy]]''. This film deals with the conflicts of Michelangelo and Pope Julius II during the painting of the [[Sistine Chapel ceiling]]. It also features a soundtrack co-written by prolific composers [[Alex North]] and [[Jerry Goldsmith]].<ref>Clemmensen, Christian. [http://www.filmtracks.com/composers/goldsmith.shtml Jerry Goldsmith (1929-2004) tribute] at [[Filmtracks.com]]. Retrieved 2011-04-14.</ref>
'''''The Agony and the Ecstasy''''' is a 1965 American [[historical drama]] film directed by [[Carol Reed]] and starring [[Charlton Heston]] as [[Michelangelo Buonarroti|Michelangelo]] and [[Rex Harrison]] as [[Pope Julius II]]. The film was partly based on [[Irving Stone]]'s 1961 [[The Agony and the Ecstasy (novel)|biographical novel of the same name]], and deals with the conflicts of Michelangelo and Pope Julius II during the 1508–1512 painting of the [[Sistine Chapel ceiling]]. It also features a soundtrack by prolific composers [[Alex North]] and [[Jerry Goldsmith]].<ref>Clemmensen, Christian. [http://www.filmtracks.com/composers/goldsmith.shtml "Jerry Goldsmith (1929–2004) tribute"]. ''[[Filmtracks.com]]''. Retrieved 2011-04-14.</ref>


The film was shot in [[Todd-AO]] and [[Cinemascope]] versions. The Todd-AO version was used for the [[DVD]] release because of its superior picture quality.
The film was shot in [[Todd-AO]] and [[Cinemascope]] versions. The Todd-AO version was used for the [[DVD]] release because of its superior picture quality.
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It then follows Michelangelo, a renowned sculptor of the [[Republic of Florence]] in the early [[16th century]], and shows him at work on large-scale sculptures near [[St. Peter's Basilica]]. When [[Pope Julius II]] commissions him to paint the Sistine Chapel, Michelangelo resists because he finds the ceiling's paneled layout of the [[Twelve Apostles]] uninspiring. Nonetheless, he is forced into taking the job. During the initial attempt, Michelangelo is discontented with the results, and destroys the [[fresco]]es. He flees to [[Carrara]], and then into the mountains where he finds inspiration from nature.
It then follows Michelangelo, a renowned sculptor of the [[Republic of Florence]] in the early [[16th century]], and shows him at work on large-scale sculptures near [[St. Peter's Basilica]]. When [[Pope Julius II]] commissions him to paint the Sistine Chapel, Michelangelo resists because he finds the ceiling's paneled layout of the [[Twelve Apostles]] uninspiring. Nonetheless, he is forced into taking the job. During the initial attempt, Michelangelo is discontented with the results, and destroys the [[fresco]]es. He flees to [[Carrara]], and then into the mountains where he finds inspiration from nature.


Michelangelo returns and is allowed to paint the entire [[Vault (architecture)|vault]] in a variety of newly designed [[Bible|biblical]] scenes. The work proceeds nonstop, even with [[Mass (liturgy)|Mass]] in session, as months turn to years. Michelangelo's work is threatened when he collapses due to fatigue. He is nursed back to health by Contessina de' [[Medici]], daughter of his old friend [[Lorenzo de' Medici]]. After recovering, Michelangelo returns to work after learning he is at risk of being replaced by [[Raphael]].
Michelangelo returns and is allowed to paint the entire [[Vault (architecture)|vault]] in a variety of newly designed biblical scenes based on the [[Book of Genesis]], which the Pope approves. The work proceeds nonstop, even with [[Mass (liturgy)|Mass]] in session. Once, Michelangelo faced opposition and criticism from the Pope's cardinals, due to its depictons of nudity in the paintings. As months turn to years, Michelangelo's work is threatened when he collapses due to fatigue. He is nursed back to health by [[Contessina di Lorenzo de' Medici|Contessina de' Medici]], daughter of his old friend [[Lorenzo de' Medici]]. After recovering, Michelangelo returns to work after learning he is at risk of being replaced by [[Raphael]], whom the Pope commissions him [[Raphael Rooms|to paint the reception rooms]] [[Apostolic Palace|of the Papal palace]].


Meanwhile, the [[Papal States]] are threatened during the [[War of the League of Cambrai]]. Preparing for battle and having reached the limits of his patience, the Pope terminates Michelangelo's contract. Raphael, impressed with the work in progress, asks Michelangelo to show humility and finish the ceiling. Michelangelo travels to see the injured and weakened Pope, and pleads for him to restore the patronage. Though the Pope believes an invasion of Rome is inevitable, he raises the money needed to resume work on the ceiling.
Meanwhile, the [[Papal States]] are threatened during the [[War of the League of Cambrai]]. Preparing for battle and having reached the limits of his patience, the Pope terminates Michelangelo's contract, and has the scaffolding torn down. Raphael, impressed with the work in progress, asks Michelangelo to show humility and finish the ceiling. Michelangelo travels to see the injured and weakened Pope, and pleads for him to restore the patronage. Though the Pope believes an invasion of Rome is inevitable, he raises the money needed to resume work on the ceiling, which Michelangelo plans to sell his marble used for the Pope's tomb.


One night, Michelangelo finds the ailing Pope inspecting the portrait of [[God in Christianity|God]] in ''[[The Creation of Adam]]'', which the Pope declares "a proof of faith." He then collapses and becomes bedridden. Though everyone assumes that the Pope will die, Michelangelo goads him into having the will to live and to finish his work. The tide of war turns in favor of the Papal States, as allies pledge to assist the Pope.
One night, Michelangelo finds the ailing Pope inspecting the portrait of [[God in Christianity|God]] in ''[[The Creation of Adam]]'', which the Pope declares "a proof of faith" yet doubts Michelangelo's conception of God as merciful and [[Adam]] as innocent, then the Pope collapses and becomes bedridden. Though everyone assumes that the Pope will die, Michelangelo goads him into having the will to live and to finish his work and asks permission to allow him return to Florence, the request the Pope refused. As Michelangelo leaves, the Pope recovers by leaving his deathbed and upon seeing the cardinals and the monks as well the choir, he angrily shooed them away. The tide of war turns in favor of the Papal States, as allies (Including [[Kingdom of England|England]] and [[Spanish Empire|Spain]]) pledge to assist the Pope.


A Mass is held in which the congregation is shown the completed ceiling. After the ceremony, Michelangelo asks to begin carving [[Tomb of Pope Julius II|the Pope's tomb]]. Realizing he has a short time to live, the Pope agrees. Together, the men admire the masterpiece of the Sistine Chapel, until Pope Julius walks away and Michelangelo turns to look at the space behind the altar where he would later paint his ''[[Last Judgement (Michelangelo)|Last Judgement]]''.
A Mass is held in which the congregation is shown the completed ceiling, to a positive response. After the ceremony, Michelangelo asks to begin carving [[Tomb of Pope Julius II|the Pope's tomb]]. Realizing he has a short time to live, the Pope agrees but changed his mind when he gives Michelangelo another commission to paint a new fresco behind the altarpiece to replace the dilapidated ones (and gives Michelangelo the choice of subject like the [[Crucifixion of Jesus|crucifixion]] or the [[The Last Judgment|last judgment]]). The Pope then admits that Michelangelo's conception of God is accurate before goading him to continue his work. As the Pope leaves, Michelangelo turns back to look at the space behind the altarpiece, where he would later paint his ''[[Last Judgement (Michelangelo)|Last Judgement]]'' 25 years later.


==Cast==
==Cast==
{{Cast listing|
{{Cast listing|
* [[Charlton Heston]] – [[Michelangelo Buonarroti]]
* [[Charlton Heston]] as [[Michelangelo Buonarroti]]
* [[Rex Harrison]] – [[Pope Julius II]]
* [[Rex Harrison]] as [[Pope Julius II]]
* [[Diane Cilento]] – Contessina Antonia Romola de' [[Medici]]
* [[Diane Cilento]] as [[Contessina di Lorenzo de' Medici|Contessina Antonia Romola de' Medici]]
* [[Harry Andrews]] – [[Donato Bramante]]
* [[Harry Andrews]] as [[Donato Bramante]]
* [[Alberto Lupo]] – Duke of Urbino
* [[Alberto Lupo]] as [[Francesco Maria I della Rovere, Duke of Urbino|Duke of Urbino]]
* [[Adolfo Celi]] – [[Pope Leo X|Giovanni de' Medici]]
* [[Adolfo Celi]] as [[Pope Leo X|Giovanni de' Medici]]
* [[Venantino Venantini]] – Paris De Grassis
* [[Venantino Venantini]] as [[Paris de Grassis|Paris De Grassis]]
* John Stacy – [[Giuliano da Sangallo]]
* John Stacy as [[Giuliano da Sangallo]]
* [[Fausto Tozzi]] – Foreman
* [[Fausto Tozzi]] as Foreman
* [[Maxine Audley]] – Woman
* [[Maxine Audley]] as Woman
* [[Tomas Milian]] – [[Raphael]]
* [[Tomas Milian]] as [[Raphael]]
}}
}}


==Production==
==Production==
Film rights to the novel were bought by [[20th Century Fox]] for a reported $125,000. The head of the studio was [[Peter Levathes]], and [[Burt Lancaster]] was linked to the film.<ref>BY WAY OF REPORT: Top Novel and Hit Play Acquired for Movies
Film rights to the novel were bought by [[20th Century Fox]] for a reported $125,000. The head of the studio was [[Peter Levathes]], and [[Burt Lancaster]] was linked to the film.<ref>{{cite news| title=BY WAY OF REPORT: Top Novel and Hit Play Acquired for Movies| first=Eugene| last=Archer| url=https://www.nytimes.com/1962/01/14/archives/by-way-of-report-top-novel-and-hit-play-acquired-for-movies.html| newspaper=[[The New York Times]]| date=January 14, 1962| page=X9| url-access=subscription}}</ref> In 1962, Fox almost collapsed due to cost over-runs on a number of films, notably ''Cleopatra''. This resulted in [[Darryl F. Zanuck]] returning to run the studio. He installed his son [[Richard D. Zanuck]] as head of production.<ref>{{cite news| title=FOX STUDIO BACK IN PRODUCTION| url=https://www.nytimes.com/1963/02/14/archives/fox-studio-back-in-production-film-work-resumes-after-long.html| first=Murray| last=Schumach| newspaper=The New York Times| date=February 14, 1963| page=5| url-access=subscription| access-date=December 31, 2022}}</ref>
By EUGENE ARCHER. New York Times 14 Jan 1962: X9.</ref> In 1962, Fox almost collapsed due to cost over-runs on a number of films, notably ''Cleopatra''. This resulted in [[Darryl F. Zanuck]] returning to run the studio. He installed his son [[Richard D. Zanuck]] as head of production.<ref>FOX STUDIO BACK IN PRODUCTION: Film Work Resumes After Long Inactivity Film Set for Spring Other Scripts Prepared
By MURRAY SCHUMACH Special to The New York Times.14 Feb 1963: 5.</ref>


In January 1963, Richard Zanuck signed Philip Dunne to write the script.<ref>{{cite news| title=Dunne Will Script 'Agony and Ecstasy'| url=https://www.newspapers.com/clip/115551416/agony-and-ecstasy-production/| newspaper=[[Los Angeles Times]]| date=January 14, 1963| page=C12| url-access=subscription| access-date=December 31, 2022}}</ref> In October 1963, Zanuck announced the film would be one of six "[[Roadshow theatrical release|roadshow]]" movies the company would make over the next 12 months, worth $42 million all up. The others would be ''The Day Custer Fell'' (turned into [[Custer of the West]]), ''[[Those Magnificent Men in Their Flying Machines]]'', ''[[Justine (1969 film)|Justine]]'', ''[[The Sound of Music (film)|The Sound of Music]]'' and ''[[The Sand Pebbles (film)|The Sand Pebbles]]''.<ref>{{cite news| title=20th Century-Fox to Spend $42 Million on Six Movies| url=https://www.newspapers.com/clip/115550885/20th-century-fox-productions-1963/| newspaper=[[Los Angeles Times]]| date=October 10, 1963| page=A1| access-date=December 31, 2022| url-access=subscription}}</ref> In November 1963, Charlton Heston signed to play the lead.<ref>"New role for Heston". ''[[The Christian Science Monitor]]''. November 11, 1963: 6.</ref> Fox wanted Rex Harrison to co star and he wanted [[Fred Zinnemann]] to direct.<ref>{{cite news| title=Looking at Hollywood: Harrison to Get Choice of Film Scripts| url=https://www.newspapers.com/clip/115552097/agony-and-ecstasy-production/| last=Hopper| first=Hedda| author-link=Hedda Hopper| newspaper=[[Chicago Tribune]]| date=December 6, 1963| page=B14| url-access=subscription}}</ref> By January, Carol Reed was set to direct and Rex Harrison to co star.<ref>{{cite news| title=Carol Reed Directs Heston, Harrison: Buchwald 'Claim Check' Set; Scofield as Train Passenger| last=Scheuer| first=Philip K.| url=https://www.newspapers.com/clip/115552428/production-of-agony-and-ecstasy/| newspaper=Los Angeles Times| date=January 16, 1964| page=C9| url-access=subscription}}</ref>
In January 1963, Richard Zanuck signed Philip Dunne to write the script.<ref>FILMLAND EVENTS: Dunne Will Script 'Agony and Ecstasy'
Los Angeles Times 14 Jan 1963: C12.</ref> In October 1963, Zanuck announced the film would be one of six "[[Roadshow theatrical release|roadshow]]" movies the company would make over the next 12 months, worth $42 million all up. The others would be ''The Day Custer Fell'' (not made), ''[[Those Magnificent Men in Their Flying Machines]]'', ''[[Justine (1969 film)|Justine]]'', ''[[The Sound of Music]]'' and ''[[The Sand Pebbles (film)|The Sand Pebbles]]''.<ref>20th Century-Fox to Spend $42 Million on Six Movies: Films to Be Made in U.S. and Abroad MOVIES Los Angeles Times 10 Oct 1963: A1.</ref> In November 1963, Charlton Heston signed to play the lead.<ref>New role for Heston
The Christian Science Monitor 11 Nov 1963: 6.</ref> Fox wanted Rex Harrison to co star and he wanted [[Fred Zinnemann]] to direct.<ref>Looking at Hollywood: Harrison to Get Choice of Film Scripts Hopper, Hedda. Chicago Tribune 6 Dec 1963: b14.</ref> By January, Carol Reed was set to direct and Rex Harrison to co star.<ref>Carol Reed Directs Heston, Harrison: Buchwald 'Claim Check' Set; Scofield as Train Passenger Scheuer, Philip K. Los Angeles Times 16 Jan 1964: C9.</ref>


===Shooting===
===Shooting===
The film's production schedule ran from June 1964 to September 1964.{{cn|date=March 2021}} When it came time to film the feature, the Sistine Chapel could not be used, and it was recreated on a sound stage at [[Cinecittà|Cinecittà Studios]] in Rome, Italy. During the production, Rex Harrison and Charlton Heston did not get along. Twelve years later, while filming ''[[The Prince and the Pauper (1977 film)|The Prince and the Pauper]]'', Harrison completely avoided Heston.{{cn|date=March 2021}}
The film's production schedule ran from June 1964 to September 1964.{{citation needed|date=March 2021}} When it came time to film the feature, the Sistine Chapel could not be used, and it was recreated on a sound stage at [[Cinecittà|Cinecittà Studios]] in Rome. During the production, Rex Harrison and Charlton Heston did not get along. (Reed and Heston had originally wanted [[Laurence Olivier]] for Pope Julius, but he was unavailable.) Twelve years later, while filming ''[[The Prince and the Pauper (1977 film)|The Prince and the Pauper]]'', Harrison completely avoided Heston.{{citation needed|date=March 2021}}


According to his diary, Heston was interested in playing Michelangelo before any studios decided to produce the film. Once cast in the part, he was excited to act under Reed, who had directed ''[[The Third Man]]'' (1949). Heston felt that this would be the film to resurrect Reed's directorial reputation, describing it as having the best audience-preview responses than any film he had ever seen. However, it only did modest business at the box office.<ref>Ben Mankiewicz on Turner Classic Movies</ref>
According to his diary, Heston was interested in playing Michelangelo before any studios decided to produce the film. Once cast in the part, he was excited to act under Reed, who had directed ''[[The Third Man]]'' (1949). Heston felt that this would be the film to resurrect Reed's directorial reputation, describing it as having the best audience-preview responses of any film he had ever seen. However, it only did modest business at the box office.<ref>Ben Mankiewicz on Turner Classic Movies{{full citation needed|date=December 2022}}</ref>


==Reception==
==Release==
===Box office===
The film grossed around $4,000,000 during its US theatrical run in 1965. It later went on to make about $8,166,000 worldwide in rentals.<ref>{{cite web|url=https://www.imdb.com/title/tt0058886/|title=The Agony and the Ecstasy|date=7 October 1965|via=www.imdb.com}}</ref> In September 1970 Fox estimated the film had lost the studio $5,281,000.<ref>{{cite book|page=[https://archive.org/details/foxthatgotawayt00silv/page/259 259]|title=The Fox that got away : the last days of the Zanuck dynasty at Twentieth Century-Fox|url=https://archive.org/details/foxthatgotawayt00silv|url-access=registration|last=Silverman|first=Stephen M|year=1988|publisher=L. Stuart}}</ref>
The film grossed around $4,000,000 during its US theatrical run in 1965. It later went on to make about $8,166,000 worldwide in rentals.<ref>{{cite web| url=https://www.imdb.com/title/tt0058886/| title=The Agony and the Ecstasy| date=7 October 1965| website=[[IMDb]]}}</ref> In September 1970 Fox estimated the film had lost the studio $5,281,000.<ref>{{cite book| page=[https://archive.org/details/foxthatgotawayt00silv/page/259 259]| title=The Fox that got away: the last days of the Zanuck dynasty at Twentieth Century-Fox| url=https://archive.org/details/foxthatgotawayt00silv| url-access=registration| last=Silverman| first=Stephen M.| year=1988| publisher=L. Stuart| isbn=978-0-8184-0485-6}}</ref>


===Critical reception===
It currently holds an 86% on [[Rotten Tomatoes]] and a 7.2 out of 10 stars on [[IMDb]].
{{Rotten Tomatoes data|prose|ref=yes}}
⚫
[[Bosley Crowther]] of ''[[The New York Times]]'' felt the film was, "not a strong and soaring drama but an illustrated lecture on a slow artist at work." He sympathized with the Pope and his mounting impatience with Michelangelo, criticizing Heston's acting as lacking any warmth to endear him to the audience. Furthermore, he believed the script suffered from being "wordy."<ref>{{cite news| url=https://www.nytimes.com/1965/10/09/archives/michelangelo-firm-opens-in-ny.html| newspaper=The New York Times| title=Michelangelo Firm Opens in N.Y.| date=October 9, 1965| first=Bosley| last=Crowther| access-date=December 31, 2022| url-access=subscription}}</ref>


⚫
In a 2013 retrospective review in ''[[The Guardian]]'', [[Alex von Tunzelmann]] noted that the film's "intent to inform is laudable, but a fictional film should really be able to convey its subject without a lecture," and echoed Crowther's observation that "the screenplay goes heavy on the dialogue, light on the action." She laments that the sex-less film fails to reveal "the real Michelangelo's passions" (particularly his reputed attraction to men), and concluded the film would have been more interesting "if it were told with a lot more humour and a lot less prudishness."<ref>{{cite news| url=https://www.theguardian.com/film/filmblog/2013/may/24/agony-and-the-ecstasy-reel-history| newspaper=The Guardian| location=London| title=The Agony and the Ecstasy: more passion would've been less painful| date=May 24, 2013| access-date=June 30, 2016}}</ref>
⚫
[[Bosley Crowther]] at ''[[The New York Times]]'' felt the film was, "not a strong and soaring drama but an illustrated lecture on a slow artist at work." He sympathized with the Pope and his mounting impatience with Michelangelo, criticizing Heston's acting as lacking any warmth to endear him to the audience. Furthermore, he believed the script suffered from being "wordy." <ref>{{Cite web|url=https://www.nytimes.com/movie/review?res=9E03E6DB1331E03BA1575AC0A9669D946491D6CF?|work=The New York Times|title=Michelangelo Firm Opens in N.Y.|access-date=June 30, 2016}}</ref>


===Accolades===
⚫
In a 2013 retrospective review in ''[[The Guardian]]'', [[Alex von Tunzelmann]] noted that the film's "intent to inform is laudable, but a fictional film should really be able to convey its subject without a lecture," and echoed Crowther's observation that "the screenplay goes heavy on the dialogue, light on the action." She laments that the sex-less film fails to reveal "the real Michelangelo's passions" (particularly his reputed attraction to men), and concluded the film would have been more interesting "if it were told with a lot more humour and a lot less prudishness."<ref>{{Cite web|url=https://www.theguardian.com/film/filmblog/2013/may/24/agony-and-the-ecstasy-reel-history|work=The Guardian|title=The Agony and the Ecstasy: more passion would've been less painful|access-date=June 30, 2016}}</ref>
⚫
The film was nominated for five [[Academy Awards]]:<ref name="Oscars1966">{{cite web| url=http://www.oscars.org/oscars/ceremonies/1966| title=The 38th Academy Awards (1966) Nominees and Winners| access-date=2011-08-24| website=AMPAS }}</ref><ref name="NY Times">{{cite news |url=https://movies.nytimes.com/movie/1241/The-Agony-and-the-Ecstasy/awards |archive-url=https://web.archive.org/web/20090213052804/http://movies.nytimes.com/movie/1241/The-Agony-and-the-Ecstasy/awards |url-status=dead |archive-date=2009-02-13 |department=Movies & TV Dept. |work=[[The New York Times]] |date=February 13, 2009 |title=The Agony and the Ecstasy |access-date=2008-12-26}}</ref>

James Plath of Movie Metropolis was more positive, saying that "For some viewers, the agony will be watching Charlton Heston (over)act, and the ecstasy Rex Harrison. But it IS refreshing for a period film to cover such new and (pun intended) artistic ground."<ref>{{Cite web|url=https://www.rottentomatoes.com/m/agony_and_the_ecstasy/|publisher=Movie Metropolis on Rotten Tomatoes|title=The Agony and the Ecstasy|access-date=June 30, 2016}}</ref>

==Awards==
⚫
The film was nominated for five [[Academy Awards]]:<ref name="Oscars1966">{{Cite web|url=http://www.oscars.org/oscars/ceremonies/1966 |title=The 38th Academy Awards (1966) Nominees and Winners |access-date=2011-08-24|work=oscars.org}}</ref><ref name="NY Times">{{cite web |url=https://movies.nytimes.com/movie/1241/The-Agony-and-the-Ecstasy/awards |archive-url=https://web.archive.org/web/20090213052804/http://movies.nytimes.com/movie/1241/The-Agony-and-the-Ecstasy/awards |url-status=dead |archive-date=2009-02-13 |department=Movies & TV Dept. |work=[[The New York Times]] |date=2009 |title=NY Times: The Agony and the Ecstasy |access-date=2008-12-26}}</ref>
* [[Academy Award for Best Production Design|Best Art Direction]], color ([[John DeCuir]], [[Jack Martin Smith]], and [[Dario Simoni]])
* [[Academy Award for Best Production Design|Best Art Direction]], color ([[John DeCuir]], [[Jack Martin Smith]], and [[Dario Simoni]])
⚫
* [[Academy Award for Best Cinematography|Best Cinematography]], color ([[Leon Shamroy]])
* [[Academy Award for Best Costume Design|Best Costume Design]], color ([[Vittorio Nino Novarese]])
* [[Academy Award for Best Costume Design|Best Costume Design]], color ([[Vittorio Nino Novarese]])
* [[Academy Award for Best Original Score|Best Original Score]] ([[Alex North]])
* [[Academy Award for Best Original Score|Best Original Score]] ([[Alex North]])
* [[Academy Award for Best Sound|Best Sound]] ([[James Corcoran (sound engineer)|James Corcoran]])
* [[Academy Award for Best Sound|Best Sound]] ([[James Corcoran (sound engineer)|James Corcoran]])
⚫
* [[Academy Award for Best Cinematography|Best Cinematography]], color ([[Leon Shamroy]])


It was nominated for two [[Golden Globe Award]]s:
It was nominated for two [[Golden Globe Award]]s:
*Best Actor (Rex Harrison)
* Best Actor (Rex Harrison)
*Best Screenplay (Philip Dunne)
* Best Screenplay (Philip Dunne)


It won two awards from the [[National Board of Review]]:
It won two awards from the [[National Board of Review]]:
*Best Supporting Actor (Harry Andrews)
* Best Supporting Actor (Harry Andrews)
*One of the Year's 10 Best
* One of the Year's 10 Best


It won the Best Foreign Film at the [[David di Donatello for Best Foreign Film|David di Donatello Awards]].
It won the Best Foreign Film at the [[David di Donatello for Best Foreign Film|David di Donatello Awards]].


==See also==
==See also==
*[[List of American films of 1965]]
* [[List of American films of 1965]]


==References==
==References==
{{reflist}}
{{Reflist}}


==External links==
==External links==
*{{IMDb title|0058886}}
* {{IMDb title|0058886}}
*{{Amg movie|1241}}
* {{TCMDb title|66918}}
*{{tcmdb title |66918}}
* {{AFI film|22677}}
*{{Rotten Tomatoes|agony_and_the_ecstasy}}
* {{Rotten-tomatoes|agony_and_the_ecstasy|title=The Agony and the Ecstasy}}


{{Carol Reed|state=expanded}}
{{Carol Reed|state=expanded}}
{{Michelangelo}}
{{Michelangelo}}
{{Sistine Chapel}}
{{Sistine Chapel}}
{{David di Donatello Best Foreign Film}}


{{DEFAULTSORT:Agony and the Ecstasy}}
{{DEFAULTSORT:Agony and the Ecstasy}}
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[[Category:1960s historical films]]
[[Category:1960s historical films]]
[[Category:1960s biographical films]]
[[Category:1960s biographical films]]
⚫
[[Category:American films]]
[[Category:American historical films]]
[[Category:American historical films]]
[[Category:American biographical films]]
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Latest revision as of 07:33, 22 December 2024

The Agony and the Ecstasy
Theatrical release poster by Howard Terpning
Directed byCarol Reed
Screenplay byPhilip Dunne
Based onThe Agony and the Ecstasy
1961 novel
by Irving Stone
Produced byCarol Reed
StarringCharlton Heston
Rex Harrison
Diane Cilento
Harry Andrews
Alberto Lupo
CinematographyLeon Shamroy
Edited bySamuel E. Beetley
Music byJerry Goldsmith
Alex North
Production
company
International Classics
Distributed by20th Century Fox
Release date
  • October 7, 1965 (1965-10-07)
Running time
138 minutes
CountryUnited States
LanguageEnglish
Budget$7 million[1]
Box office$8 million[2]

The Agony and the Ecstasy is a 1965 American historical drama film directed by Carol Reed and starring Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II. The film was partly based on Irving Stone's 1961 biographical novel of the same name, and deals with the conflicts of Michelangelo and Pope Julius II during the 1508–1512 painting of the Sistine Chapel ceiling. It also features a soundtrack by prolific composers Alex North and Jerry Goldsmith.[3]

The film was shot in Todd-AO and Cinemascope versions. The Todd-AO version was used for the DVD release because of its superior picture quality.

Plot

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The film opens in documentary style, chronicling the work of Michelangelo Buonarroti. It then follows Michelangelo, a renowned sculptor of the Republic of Florence in the early 16th century, and shows him at work on large-scale sculptures near St. Peter's Basilica. When Pope Julius II commissions him to paint the Sistine Chapel, Michelangelo resists because he finds the ceiling's paneled layout of the Twelve Apostles uninspiring. Nonetheless, he is forced into taking the job. During the initial attempt, Michelangelo is discontented with the results, and destroys the frescoes. He flees to Carrara, and then into the mountains where he finds inspiration from nature.

Michelangelo returns and is allowed to paint the entire vault in a variety of newly designed biblical scenes based on the Book of Genesis, which the Pope approves. The work proceeds nonstop, even with Mass in session. Once, Michelangelo faced opposition and criticism from the Pope's cardinals, due to its depictons of nudity in the paintings. As months turn to years, Michelangelo's work is threatened when he collapses due to fatigue. He is nursed back to health by Contessina de' Medici, daughter of his old friend Lorenzo de' Medici. After recovering, Michelangelo returns to work after learning he is at risk of being replaced by Raphael, whom the Pope commissions him to paint the reception rooms of the Papal palace.

Meanwhile, the Papal States are threatened during the War of the League of Cambrai. Preparing for battle and having reached the limits of his patience, the Pope terminates Michelangelo's contract, and has the scaffolding torn down. Raphael, impressed with the work in progress, asks Michelangelo to show humility and finish the ceiling. Michelangelo travels to see the injured and weakened Pope, and pleads for him to restore the patronage. Though the Pope believes an invasion of Rome is inevitable, he raises the money needed to resume work on the ceiling, which Michelangelo plans to sell his marble used for the Pope's tomb.

One night, Michelangelo finds the ailing Pope inspecting the portrait of God in The Creation of Adam, which the Pope declares "a proof of faith" yet doubts Michelangelo's conception of God as merciful and Adam as innocent, then the Pope collapses and becomes bedridden. Though everyone assumes that the Pope will die, Michelangelo goads him into having the will to live and to finish his work and asks permission to allow him return to Florence, the request the Pope refused. As Michelangelo leaves, the Pope recovers by leaving his deathbed and upon seeing the cardinals and the monks as well the choir, he angrily shooed them away. The tide of war turns in favor of the Papal States, as allies (Including England and Spain) pledge to assist the Pope.

A Mass is held in which the congregation is shown the completed ceiling, to a positive response. After the ceremony, Michelangelo asks to begin carving the Pope's tomb. Realizing he has a short time to live, the Pope agrees but changed his mind when he gives Michelangelo another commission to paint a new fresco behind the altarpiece to replace the dilapidated ones (and gives Michelangelo the choice of subject like the crucifixion or the last judgment). The Pope then admits that Michelangelo's conception of God is accurate before goading him to continue his work. As the Pope leaves, Michelangelo turns back to look at the space behind the altarpiece, where he would later paint his Last Judgement 25 years later.

Cast

[edit]

Production

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Film rights to the novel were bought by 20th Century Fox for a reported $125,000. The head of the studio was Peter Levathes, and Burt Lancaster was linked to the film.[4] In 1962, Fox almost collapsed due to cost over-runs on a number of films, notably Cleopatra. This resulted in Darryl F. Zanuck returning to run the studio. He installed his son Richard D. Zanuck as head of production.[5]

In January 1963, Richard Zanuck signed Philip Dunne to write the script.[6] In October 1963, Zanuck announced the film would be one of six "roadshow" movies the company would make over the next 12 months, worth $42 million all up. The others would be The Day Custer Fell (turned into Custer of the West), Those Magnificent Men in Their Flying Machines, Justine, The Sound of Music and The Sand Pebbles.[7] In November 1963, Charlton Heston signed to play the lead.[8] Fox wanted Rex Harrison to co star and he wanted Fred Zinnemann to direct.[9] By January, Carol Reed was set to direct and Rex Harrison to co star.[10]

Shooting

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The film's production schedule ran from June 1964 to September 1964.[citation needed] When it came time to film the feature, the Sistine Chapel could not be used, and it was recreated on a sound stage at Cinecittà Studios in Rome. During the production, Rex Harrison and Charlton Heston did not get along. (Reed and Heston had originally wanted Laurence Olivier for Pope Julius, but he was unavailable.) Twelve years later, while filming The Prince and the Pauper, Harrison completely avoided Heston.[citation needed]

According to his diary, Heston was interested in playing Michelangelo before any studios decided to produce the film. Once cast in the part, he was excited to act under Reed, who had directed The Third Man (1949). Heston felt that this would be the film to resurrect Reed's directorial reputation, describing it as having the best audience-preview responses of any film he had ever seen. However, it only did modest business at the box office.[11]

Release

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Box office

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The film grossed around $4,000,000 during its US theatrical run in 1965. It later went on to make about $8,166,000 worldwide in rentals.[12] In September 1970 Fox estimated the film had lost the studio $5,281,000.[13]

Critical reception

[edit]

On the review aggregator website Rotten Tomatoes, 86% of 7 critics' reviews are positive, with an average rating of 6.6/10.[14] Bosley Crowther of The New York Times felt the film was, "not a strong and soaring drama but an illustrated lecture on a slow artist at work." He sympathized with the Pope and his mounting impatience with Michelangelo, criticizing Heston's acting as lacking any warmth to endear him to the audience. Furthermore, he believed the script suffered from being "wordy."[15]

In a 2013 retrospective review in The Guardian, Alex von Tunzelmann noted that the film's "intent to inform is laudable, but a fictional film should really be able to convey its subject without a lecture," and echoed Crowther's observation that "the screenplay goes heavy on the dialogue, light on the action." She laments that the sex-less film fails to reveal "the real Michelangelo's passions" (particularly his reputed attraction to men), and concluded the film would have been more interesting "if it were told with a lot more humour and a lot less prudishness."[16]

Accolades

[edit]

The film was nominated for five Academy Awards:[17][18]

It was nominated for two Golden Globe Awards:

  • Best Actor (Rex Harrison)
  • Best Screenplay (Philip Dunne)

It won two awards from the National Board of Review:

  • Best Supporting Actor (Harry Andrews)
  • One of the Year's 10 Best

It won the Best Foreign Film at the David di Donatello Awards.

See also

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References

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  1. ^ Solomon, Aubrey (2002). Twentieth Century Fox: A Corporate and Financial History. Rowman & Littlefield. p. 254. ISBN 978-0-8108-4244-1.
  2. ^ "The Agony and the Ecstasy, Box Office Information". The Numbers. Retrieved January 22, 2013.
  3. ^ Clemmensen, Christian. "Jerry Goldsmith (1929–2004) tribute". Filmtracks.com. Retrieved 2011-04-14.
  4. ^ Archer, Eugene (January 14, 1962). "BY WAY OF REPORT: Top Novel and Hit Play Acquired for Movies". The New York Times. p. X9.
  5. ^ Schumach, Murray (February 14, 1963). "FOX STUDIO BACK IN PRODUCTION". The New York Times. p. 5. Retrieved December 31, 2022.
  6. ^ "Dunne Will Script 'Agony and Ecstasy'". Los Angeles Times. January 14, 1963. p. C12. Retrieved December 31, 2022.
  7. ^ "20th Century-Fox to Spend $42 Million on Six Movies". Los Angeles Times. October 10, 1963. p. A1. Retrieved December 31, 2022.
  8. ^ "New role for Heston". The Christian Science Monitor. November 11, 1963: 6.
  9. ^ Hopper, Hedda (December 6, 1963). "Looking at Hollywood: Harrison to Get Choice of Film Scripts". Chicago Tribune. p. B14.
  10. ^ Scheuer, Philip K. (January 16, 1964). "Carol Reed Directs Heston, Harrison: Buchwald 'Claim Check' Set; Scofield as Train Passenger". Los Angeles Times. p. C9.
  11. ^ Ben Mankiewicz on Turner Classic Movies[full citation needed]
  12. ^ "The Agony and the Ecstasy". IMDb. 7 October 1965.
  13. ^ Silverman, Stephen M. (1988). The Fox that got away: the last days of the Zanuck dynasty at Twentieth Century-Fox. L. Stuart. p. 259. ISBN 978-0-8184-0485-6.
  14. ^ "The Agony and the Ecstasy". Rotten Tomatoes. Fandango Media. Retrieved September 20, 2024. Edit this at Wikidata
  15. ^ Crowther, Bosley (October 9, 1965). "Michelangelo Firm Opens in N.Y.". The New York Times. Retrieved December 31, 2022.
  16. ^ "The Agony and the Ecstasy: more passion would've been less painful". The Guardian. London. May 24, 2013. Retrieved June 30, 2016.
  17. ^ "The 38th Academy Awards (1966) Nominees and Winners". AMPAS. Retrieved 2011-08-24.
  18. ^ "The Agony and the Ecstasy". Movies & TV Dept. The New York Times. February 13, 2009. Archived from the original on 2009-02-13. Retrieved 2008-12-26.
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