I cannot but feel that Carol Reed's film has been too harshly judged. It is not a masterpiece by any means but a noble attempt to portray 'Genius'. Grasping this elusive quality is difficult for any director and nigh on impossible for any actor.
The history of film-making is full of 'might have beens'. Had production not been so long delayed we might have seen Burt Lancaster as Michelangelo Buonarotti but the challenge fell to Charlton Heston. If Laurence Olivier had been available we would not have had Rex Harrison as Pope Julius. By all accounts Heston and Harrison did not get on which certainly aided their scenes of antagonism. The best scene between them is actually one of comparative amicability in which they are looking at the fresco of God creating Adam. A beautifully written scene and beautifully acted. As mentioned earlier Heston has the unenviable task of portraying a man known even in his own time as 'Il Divino'. Although his undeniable presence and good voice serve him well he lacks alas the inner fire and dynamism that a creative artist of Buonarotti's immensity must have possessed and is, I fear, rather dull. As the Pope the imperious Rex Harrison is a wonder to behold. Heston called him a 'thoroughbred' and that describes him perfectly. Skittish, temperamental and oozing sheer class. Should you be expecting the bearded pontiff of Raphael's famous portrait, Mr. Harrison refused either to sprout one or stick one on. Diane Cilento is effective as a daughter of Lorenzo de Medici and her presence is obviously designed to give the film some emotional balance. She does not hide her love for Michelangelo but from what we know of him she was barking up the wrong tree!
Naturally the production values here are superb and Leon Shamroy's cinematography is outstanding. Very good score by Alex North but Gerry Goldsmith is uncredited for the music that accompanies the excellent twelve-minute prologue. Philip Dunne has adapted well what is essentially one chapter of Irving Stone's massive novel.
Michelangelo outlived his patron by fifty years and was still sculpting days before his death.. Goethe wrote that 'until you have seen the Sistine Chapel you can have no adequate conception of what man is capable of accomplishing'. An even greater accomplishment considering Michelangelo's own words: " I am no painter."
The history of film-making is full of 'might have beens'. Had production not been so long delayed we might have seen Burt Lancaster as Michelangelo Buonarotti but the challenge fell to Charlton Heston. If Laurence Olivier had been available we would not have had Rex Harrison as Pope Julius. By all accounts Heston and Harrison did not get on which certainly aided their scenes of antagonism. The best scene between them is actually one of comparative amicability in which they are looking at the fresco of God creating Adam. A beautifully written scene and beautifully acted. As mentioned earlier Heston has the unenviable task of portraying a man known even in his own time as 'Il Divino'. Although his undeniable presence and good voice serve him well he lacks alas the inner fire and dynamism that a creative artist of Buonarotti's immensity must have possessed and is, I fear, rather dull. As the Pope the imperious Rex Harrison is a wonder to behold. Heston called him a 'thoroughbred' and that describes him perfectly. Skittish, temperamental and oozing sheer class. Should you be expecting the bearded pontiff of Raphael's famous portrait, Mr. Harrison refused either to sprout one or stick one on. Diane Cilento is effective as a daughter of Lorenzo de Medici and her presence is obviously designed to give the film some emotional balance. She does not hide her love for Michelangelo but from what we know of him she was barking up the wrong tree!
Naturally the production values here are superb and Leon Shamroy's cinematography is outstanding. Very good score by Alex North but Gerry Goldsmith is uncredited for the music that accompanies the excellent twelve-minute prologue. Philip Dunne has adapted well what is essentially one chapter of Irving Stone's massive novel.
Michelangelo outlived his patron by fifty years and was still sculpting days before his death.. Goethe wrote that 'until you have seen the Sistine Chapel you can have no adequate conception of what man is capable of accomplishing'. An even greater accomplishment considering Michelangelo's own words: " I am no painter."