Despite its inconsistencies with historical accounts, the movie adaptation of Irving Stone's novel, The Agony and the Ecstasy, is entertaining and worthy of attention. The 1965 film, directed by Carol Reed and starring Rex Harrison and Charlton Heston, is not a truthful screenplay, as "true story" scripts seldom are; some fallacies and dramatic devices stand out.
Film Details
The first is that although Michelangelo Buonarroti was protective of his work, the decision to show a portion of an unfinished Sistine Chapel ceiling was that of the artist, not Pope Julius II, who commissioned him to paint the ceiling in 1508. A rumor claims the artist, in a fit of rage over the Pope's impatience for seeing the work done, had the scaffolding torn down in protest before being persuaded to continue.
A second inconsistency is the misconception, even to this day, that Buonarroti painted the majority of the work on his back. Actually, the artist had a framework constructed that contoured the ceiling, and so much of the painting was done standing up, at times leaning backward. The combined toll on Michelangelo's back and eyesight was a permanent consequence of his great achievement.
Finally, Heston's "divine inspiration" for the creation of Man, the assumed love interest of the betrothed Contessina de'Medici, and the threat of imprisonment or death by order of Pope Julius II are mere dramatic devices. In truth, a great artist, architect, sculptor, and poet would devote nine years of his life to the Chapel's adornment, often defending his compositions against critics, because he believed the work as righteous and true.
The Painting Process
Trained as a Florentine sculptor in the Medici gardens, Michelangelo's reluctance to paint the ceiling of the Sistine Chapel is plain. With no previous background or interest in painting, the prestigious and public commission of a papal autocrat presented an insurmountable challenge for the ambitious artist.
Furthermore, the "pure" process of buon fresco painting chosen by Michelangelo seems ill-advised. The application of pre-mixed pigment on wet plaster, though more permanent, required a quick hand, frequent paint mixing and endless plaster castings to depict more than 300 figures, drawn in advance. It also contributed to numerous delays, due to frequently inclement weather and damp conditions inside the Chapel.
Of Pope and Painter
His relationship with Pope Julius II was contentious, no doubt. Two arrogant personalities clashed over the project's duration as a natural counterpoint to their love for the work they both envisioned, for themselves and for the Roman church. Michelangelo felt pressured to match the adversarial achievements of contemporaries Leonardo da Vinci and Raphael. Julius felt pressured to single-handedly save Christianity for Rome.
The depiction and reputation of Pope Julius as more of a soldier than a papal saint seems accurate, both by historical account and in light of the violent times in which he lived and ruled Italy. Securing allies, friends, and defenders for the Vatican proves him, at the very least, a skilled strategist and an eminent statesman.
The dedication and determination of both main characters is the most enjoyable aspect of the film's screenplay. Beyond subplots, love interests, and battle scenes, the skilled acting by Heston and Harrison gives the film credence and passion, something lacking from many of today's actors who make much more than both men combined did for The Agony and the Ecstasy.
References:
Bonner, Neil R., ed., Michelangelo Buonarroti, 14 December 2001, Michelangelo.Com, Inc., Retrieved from michelangelo.com/buonarroti.html (15 March, 2009)
Essak, Shelley. "Michelangelo - The Sistine Chapel Ceiling." About.com: Art History, available at arthistory.about.com/od/famous_paintings/a/sischap_ceiling.htm (15 March, 2009)
The Agony and the Ecstasy (1965). Dir. Carol Reed. Perf. Charlton Heston, Rex Harrison. DVD, 20th Century Fox, 2005.
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