gavin6942 The biographical story of Michelangelo's troubles while painting the Sistine Chapel at the urging of Pope Julius II.I went into this film unaware. I knew a little about Michelangelo, nothing about Pope Julius, and very little about the Sistine Chapel (which I now know was built and named for Julius' uncle). But I love that it started with a short overview of Mike's work, because that really set the tone.How accurate this is, I do not know. But it makes for an interesting struggle: the leader of the Catholic Church against probably the greatest artist of his time. Was there really a fight to make the sculptor paint? I suppose so. What was Michelangelo's faith, because this film sure makes him seem less than thrilled to be working for the Catholic Church...

George Corneby A provocative tale of two of arguably the most influential figures during the renaissance – a famed sculptor whose reputation may have gone to his head, and a stalwart strong-willed decisive pope who not only was responsible for the spiritual lives of the citizenry, but for the sovereignty of the country.The two figures inevitably clash when the pragmatic cost-conscious Pope Julius II forces the hand of the artist (pardon the pun) to paint the ceiling of the Sistine chapel – a task that Michelangelo feels ill-suited of his great talent as a sculptor.And clash they most certainly do. For most of the film, each time they are together, we see them engaged in head butting. Their numerous disputes range from light moments of disgusted condescension to dramatic disrespectful outbursts. If we didn't already know of the existence of the masterpiece, we ourselves would wonder whether it would ever be completed.And yet, in the end, the dictatorial authority of one and the uncontrolled insolence of the other move both characters to achieve their goals. The rarity of their reflective discussions together only serve to amplify the depth of respect they have for one another, culminating in what I consider one of the most beautiful scenes in the movie where they discuss the images of God and Adam, to which the pope acclaims, "If I had to choose my life over again, I think I would choose to be an artist."Finally, they acknowledge that they both were instruments used by God to create such a masterful proof of faith that has stood the test of time.We are drawn to love and appreciate both characters, which the author masterfully develops to a point where they are transformed. But it isn't so much that their personalities change, but more so their outlook towards one another that undergoes a gradual transformation.

LeonLouisRicci Changing Taste in Popular Culture found this Movie at the End of the Epic Big Budget Historical/Biblical Extravaganzas and this was a Testament to the Volatile Times as it Lost Much Money and was a Critical and Box Office Mediocrity.That is not to say that is what the Film Represents, because it is a Magnificent Production with Elaborate Scenes, Exquisite Costuming, and Respectable Performances. The Story of Michelangelo's at First Reluctance and then Overwhelming Devotion to Painting the Ceiling of the Sistine Chapel and His Ongoing Battle of Words and Wits with Pope Julius II is Captivating Cinema.It is Virtually a Two Man Show and Much of it is in the Setting of the Development of the Four Year Long On Again Off Again Project that Ended in One of History's Most Iconic Artistic Achievements. It is Informative and Illustrious to Behold, the Process and Pain that it took to Endure the Creation of that Masterpiece. The Film is Long and Wordy but Never Fails to Capture the Essence of the Two Men and the Heart of the Matter is Unveiled.Never Overly Pious, as these Things tend to be, this is Essential Viewing for Art Students and Lovers and as a Film it is Well Done and Glorious to Watch.

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.