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Irving Stone’s acclaimed biographical novel The Agony and the Ecstasy covers eleven periods of Michelangelo, from early artist to his death. Its a sweeping, fast-moving narrative, backed by a convincing bibliography; you know why moviemakers wanted to make it—at least a part of it—into a prestige roadshow. Carol Reeds production, with a script by Philip Dunne, concentrates on Book Seven: The Pope. Between uprisings and skirmishes, the warrior pontiff Julius II demands that Michelangelo paint the ceiling of the Vaticans barn-like Sistine Chapel. Michelangelo balks but, in order not to become victim of Juliuss infamous wrath, attempts to fulfil the popes request of portraits of the twelve apostles until realizing the commissions mediocrity and then surrenders to an elaborate “vision” that would take more than four years to complete. Stones “chapter” is about a hundred pages long; the movie feels much longer and is far less satisfying. Neednt be manically wired, like Minnellis Lust for Life, but hoping for some drive, a little push, wouldnt be asking a lot. And maybe just a little carnal pulse? Cautious prober as any director, Reed acquiesces to the terms of reticent biography and, while not entirely avoiding Michelangelos private life, steers away with some broadstrokes: In a brothel, a whore laughs, “You can search the whole world and you will never find Michelangelo in a house like this.” After Diane Cilento, playing Contessina de Medici, kisses Charlton Hestons Michelangelo and he politely rebuffs, she asks if its another woman. He says no and waits a second or two to add, “Its not that either.” If its not that, then what? He laments his experience with love has “left me empty,” that “God crippled me.” This noodle-headed safety also explains why the mini-documentary that opens the movie—“The Artist Who Did Not Want to Paint”—gives us only a brief medium shot of David in fig leaf Monty, though you have to applaud that the first close-up view is very appropriately Davids foot, which belongs to one of the greatest sets ever reproduced. (From those we see in the doc, toes could be described as fetish.) In their vain search for reality in the myth of incorruptibility, historians as well as respectful moviemakers conjure that Michelangelo didnt have much overt sex and in the process make fools of themselves. (In an interview with Dick Cavett, Heston sounds a little less foolish, though in a 1995 autobio he wackily insisted he had proof the artist wasnt gay.) Shaped by the expertise of caressing tools David is the geniuss coming-out. Comments, letters and sonnets to and about cobalt blue-eyed Tommaso are redundant confirmation that the geniuss love and adoration of male beauty extended beyond the artistry of painting and sculpture. Not even author Stone can prevent his readers inescapable visions of masturbatory ejaculations between the lines. (Nor will Cilento, who reminds Heston that one of the sonnets was “indiscreet.”) If inadequate as caresser of statuary, Heston is his customary roadshow presence; as Julius wearing deluxe armor and chain mail, Rex Harrison does his usual regal bit and, in spite of the superfluous “my son,” excels in his last twenty minutes; Cilento has an out-of-the-ordinary speaking instrument. Aldofo Celi, Fausto Tozzi, Venantino Venantini and other supporting actors are poorly served by dubbing. Why didnt Alex North overule Franco Potenzas wretched chorus music? Using TODD AO, Leon Shamroy does some sunny outdoor pans but is woefully deficient with the exalting masterpiece so agonizingly produced. (Though the Vatican considered the request to allow Reed to film in the Sistine Chapel, the decision to build it to approximate scale is one half the movies only artistry; the second half is the attempt to show the toils endured in painting the ceiling, the kinds of scaffolding argued over, and the achievement in the duplication of the ceilings artistic depictions, aided by photographic blowups. The controversial cleaning and restoration that started in 1984 and was completed in 1989, and smaller restoratons on-going until 1999, would reveal that Michelangelo expansively applied surprisingly brighter colors than art historians originally believed.) Preview cards and early reviews suggested the roadshow would be a hit; instead, it bombed. “The Artist Who Did Not Want to Paint” written and directed by Vincenzo Labella and narrated by Marvin Miller, the dispenser of checks in TVs The Millionaire and the narrator and announcer for the long-running The F.B.I. series. (Opening 12/23/1965 at the Cinestage, running 19 weeks.)

Oscar nominations for color cinematography, color art direction, sound, original musical score (North), color costumes (Vittorio Nino Novarese).




Text COPYRIGHT © 2000 RALPH BENNER  All Rights Reserved.