The Agony and the Ecstasy
Picture: B- Sound: C Extras: D Film: B-
The creative impulse and
artistic drive has flummoxed humanity throughout history. Whether it is based
on a Nietzschean struggle to tame a hostile world or a religiously inspired
tribute to a higher power, those who succumb to the desire of creative
expression are often anguished, restive, and tempestuous. And yet, I am truly grateful that these
artistic geniuses endured their hardships to give to the world lasting works of
unparalleled beauty. Quite possibly the
most gifted artist ever, as well as most irascible, was the great
sculptor-cum-painter, Michelangelo. The
story behind his painting the ceiling of the Sistine Chapel, aptly portrayed by
Carol Reed’s 1965 70mm production The
Agony and the Ecstasy, demonstrates the countless difficulties artists
encounter, whether such impediments are forced upon them or a product of their
own intransigence.
The Agony and the Ecstasy follows the tumultuous relationship between
Michelangelo (an oddly cast Charlton Heston--a Marlon Brando-type would better
embody the artist’s torment) and Pope Julius II, the Warrior Pope (the luminous
Rex Harrison), as Michelangelo is commissioned the paint the ceiling of the
Sistine Chapel. With a reputation that
precedes him, Michelangelo is called upon by the Pope to carve statutes for him
tomb and help design and build structures in the Vatican. The Pope, wanting a more resplendent Sistine
Chapel, reassigns Michelangelo to paint the bare ceiling. In a daring moment of
artist madness, Michelangelo rebels against the Pope’s orders to paint the
Apostles; for the artisan, more accustomed to the medium of marble, finds the
project uninspiring and lifeless.
Unhappy with his fresco, Michelangelo violently destroys his work in a
rather dramatic scene (it makes one wonder how often great artists destroy
their works due to overwhelming frustrations – I guess that is what makes them
great).
In an effort to find
inspiration, Michelangelo flees the Vatican to work with fellow marble miners,
despite being relentlessly tracked by the Pope’s servants. Although trite, with the requisite voiceover
and look to the heavens, Reed does a passable job illustrating the moment of artistic
revelation. With new found inspiration,
Michelangelo returns to the Vatican with a new vision, one completely different
that the Pope’s original request. In a
rare occasion of acquiescence, the Pope allowed Michelangelo to complete his
vision. Uncharacteristic of artisans of
the time, Michelangelo finished the Sistine Chapel by himself, without the
major assistance of apprentices. As a
result, the fresco took years to complete, which caused a great deal of
consternation between Julius and Michelangelo.
Needless to say, the fresco was completed, and it remains as one of the
most beautiful and moving pieces of art that exists today. All told, the film does an admirable job
illustrating the inner-turmoil of artistic genius and the forces that complicate
art.
Although the film is
rather enjoyable, both the picture and sound sometimes detract from the film’s
effect. On occasion, the sound, 2.0
Dolby Surround, becomes a bit hallow and tinny. This may be a byproduct of the set; filming inside a large church
could cause such an effect, but this hollowness is also found during outdoor
scenes. As for the picture, 2.20:1
anamorphic widescreen, Reed has inherent limitations; the overwhelming splendor
of the Sistine Chapel can never be captured on film. As for extras, there are none.
I would imagine, given the historical importance of the painting and the
serious debates that transpired about the restorations, that there could be a
number of extras that would really make this disc a worthy buy. But, if you are looking for a good movie
that inspects the difficulties artists face, you could do much worse. As for this film itself, there is a section
on its restoration and the visual improvement is a plus.
- Ron Von Burg
