A Film Example

Torment and Ecstasy

Original title: The Agony and the Ecstasy Based on the book by: Irving Stone Directed by: Carol Reed Year: 1965 Starring: Charlton Heston (Michelangelo)

About the artist

Michelangelo was born in 1475 in Caprese, a town in Tuscany where his father was mayor. He was the only artist in the family. He began by studying stone and then marble, the raw material of the Greeks, and the material that the young Michelangelo preferred to work with. He dreamed of one day arriving in Florence, where Prince Lorenzo the Magnificent encouraged art.

The Battle of the Centaurs, created when he was seventeen, reveals his passion for the expressive and physical vigor of the bodies that are intertwined with a mixture of pleasure, rebellion, and pain. In his sculpture of Bacchus, one can also perceive the ironic satisfaction of the satyr/demon who tempts Adam, as if Michelangelo intended to denounce the universal game between good and evil. The same is true with the work El día y la noche, in which light and darkness are opposed, and the masks express nocturnal fears. The passion for force is already evident, expressed in the intense expression of the faces and the pained glances.

Works that seem unfinished are also important, as if he had not wanted formality to interfere with his finite beauty. Likewise, death is manifested, above all, in human expression and internal reality, which cannot be enclosed in the different piety that he sculpted, in which the compassion of the Virgin joins the painful and fearful expression of Christ. The frightened look is also found in the David, represented in the act of starting a battle: the typical look of the counterphobic E6.

Another colossal work is the Moses. After finishing this piece of expressiveness, Michelangelo gave a hammer blow to the knee of the sculpture, saying: “And now, speak.” Perfection in every detail is reached with the Pietà exhibited in St. Peter’s, while his sculptural artistic heritage is the Ronda nini Pietà, on which he worked for eleven years: Michelangelo no longer seeks aesthetic perfection to make room for human pain. But the work that makes him immortal is the Sistine Chapel in Rome: not a sculpture but a fresco. The film narrates the process of its creation by Michelangelo Buonarroti, “an artist who did not want to paint.”

The Movie

The first scene places us in a marble quarry, from which they extract the block that will become the Moses. This is followed by a battle and the triumphant entry of Pope Julius II into Rome. Meanwhile, Michelangelo works in his study and despises the exploits of the Pope. To whom he tells him that he should honor the Pontiff, Michelangelo replies that what he is doing is more important than any battle and that in Rome, they only think about drinking, eating, and fornicating.

The character presents the main traits of the Sexual 6: critical of everyone and everything, arrogant, and convinced of being on the side of the "just." Another of his characteristics is procrastination, invaded by perfectionism that wants to eliminate any risk of error, and trapped in doubt before every action he wants to carry out. Bramante, the architect of Saint Peter's Basilica, continues to provoke him, making him notice that he still has everything in mind while his architectural project for the cathedral is underway. In response, Michelangelo affirms that the cathedral of Bramante will be beautiful above all because it will be the site of the tomb of Julius II, which he himself is sculpting. Here are other character traits: arrogance, competition, and megalomania.

Julius II summons Buonarroti to scold him because of some of his sonnets that discredit the Pope by describing him as a bellicose conqueror. Michelangelo responds by accusing him of not having paid for some finished works and reminding him that he himself had commissioned a statue representing him with a sword.

Michelangelo seems not to be afraid of confronting the Pope and arguing with him. He does not mince words, although he agrees to be at his service to have the opportunity to build his tomb. As Julius II points out, Michelangelo is motivated by the desire to be famous rather than by the spirit of service. While the Pope speaks, the sculptor endures in silence, stiffens, and the rage he feels for not being able to react is clear.

On this occasion, Julius II shows him the Sistine Chapel and asks him to paint the ceiling; Michelangelo reacts furiously: He is a sculptor and not a painter! The Pope insists until Michelangelo gives in, at the moment when the Pope challenges him, telling him that he refuses for fear of not being up to the task.

A Sexual 6 cannot accept that the part is touched, but it shows his fear because that is where he finds his main defense: to be strong to hide the sight in action and not to be paralyzed by rage, and it seems that Julius II thinks he can be scared. Through the challenge, he manages to get what he knows.

Although he wants Julius II to recognize him, Michelangelo cannot accept the Pope's authoritarianism and thirst for power, whose ambitious and exploitative authority he contrasts with the human authority of Lorenzo de' Medici, idealized as good. It is a basic need of the Sexual 6 to clearly distinguish good from evil to protect itself from being a victim of evil and to ensure that it is on the side of good. In addition, Buonarroti does not accept that his art can be "directed" and cannot recognize that painting the ceiling is a great work. He feels humiliated and is convinced that the Pope wants to destroy him.

In a meeting with Tessina, the daughter of Lorenzo de' Medici, he justifies his denial with a thousand arguments against the Pope and the desire to accept the commission to build a bridge in Turkey. When the princess confronts him with the fact that he is an artist, he replies: "Art is not just a good drawing... and it is not beauty either; art is an idea […] You are trying to change my mind.” He feels surrounded and doubt torments him. He does not know what he will decide to allow himself to emerge and that he does not like, or to escape, being faithful to his directions: accept the challenge and undertake a work that he does not know if he has ideas about art and his need to feel free from authority. The princess knows him very well and confronts him with his compulsive rebellion, challenging him regarding his need to disobey:

"You've always done what you wanted." It is evident that between him and Princess de' Medici there is harmony and reciprocal attraction. As they talk, Michelangelo tries to touch her hand, which she delicately withdraws. He leaves immediately. This volitional and strong man in the face of feelings seems shy and willing to give up at the slightest gesture of rejection.

In the end, Michelangelo accepts the challenge: he begins work on the Sistine Chapel amid many conflicts and with a rage that is unleashed against his own work and makes him destroy some finished frescoes. He flees from Rome, and the Pope promises him death if he does not finish painting the ceiling.

In his flight, alone on top of a mountain at dawn, while contemplating the immensity of the sky, Michelangelo makes spiritual contact with the greatness of creation: "God created man

in His image and likeness." He perceives a grandeur that helps him transcend the egoic creativity in which he finds himself trapped, a narcissistic and heroic creativity based on the desire for immortality.

The screen goes dark to indicate the transformation. Michelangelo allows himself to be captured and returns to see the Pope to show him the new creation: the entire chapel will be decorated, and not just the ceiling. Michelangelo argues with the Pope personally about the price, but what matters most to him now is to be a channel to represent the grandeur of God's creation. As Julius II comments: "He is not projecting a ceiling, he is projecting a miracle."

He dedicates himself completely to work, but the Pope continues to subject him to the harsh test of obedience. Michelangelo rebels, defies him, but it is due to an authority from which he cannot escape. He is developing a relationship with an authoritarian, unfair father who does not correspond to his ideals but, at the same time, is offering him the chance to fulfill himself.

Every time he sees him, Julius II asks: "When will you finish?" And he replies: "When I'm done!"

An exchange of words:

Claudio Naranjo comments on how the reactive and arrogant attitude recalls the beginning of Beethoven's Eroica symphony, that of someone who responds to God by putting himself at his own height! Michelangelo meets Tessina again, and they talk about love life. Tessina has been, and still is, his impossible love. He has felt a sexual passion only towards another woman, but without love, and that left him empty. He tells Tessina that he doesn't have time for love. "God has given me the power to create." Michelangelo speaks as if he were not destined to love, to have a family, to have children. If we look at this in the light of the separation between sex and love, we recognize the Sexual 6, fearing merging with the other: to put himself in the hands of someone who one day could reject him or mistreat him or even abuse him, with fear of dependency. We recognize the sexual passion transferred to work to avoid the risk of an intimate relationship.

A group of cardinals visits the Sistine Chapel while Michelangelo is still working on it. The cardinals are scandalized by the powerful, naked bodies of the saints in the frescoes. A heated discussion begins, with Michelangelo defending his work. He argues that his depictions of the human body are in accordance with Christian teachings, as God created man in His own image and likeness, and Michelangelo is simply serving as His emissary.

Michelangelo’s megalomania is evident; his conviction of being right is rooted in the coherence of his thoughts and actions, a trait often seen in characters who believe in the righteousness of their cause. Buonarroti is willing to challenge anyone who opposes his art. Pope Julius II reprimands him for his boldness but still allows him to continue working, despite the objections of the cardinals.

Due to exhaustion, Michelangelo is forced to pause his work. It is during this break that he reflects on his old conflicts and rebellious impulses. He is reluctant to return to the Vatican and finish the Sistine Chapel. However, the Pope, knowing Michelangelo’s temperament, decides to exploit his need for a challenge by hinting that he might entrust the completion of the dome to Raphael. This pushes Michelangelo back into action.

Pope Julius II is under immense pressure due to external threats to the papacy. He becomes locked in a bitter dispute with Michelangelo, who refuses to allow the unfinished chapel to be shown to the public. Michelangelo insists on completing it first to showcase its full grandeur. Julius II strikes him with a cane in frustration, declaring, “This is the last time I will tolerate your insolence; your orders are over here.” Despite the conflict, the Pope deeply values Michelangelo and understands that his growth comes from being held accountable, from accepting limits. Julius II’s internal struggle is not only over his personal interest but also over his genuine appreciation for Michelangelo's work. However, Michelangelo cannot reconcile with authority and sees it as a threat.

Raphael, who has been chosen to replace Michelangelo, visits him. He expresses admiration for Michelangelo’s work and attempts to convince him to reconcile with the Pope.

RAFAEL: “I think you should apologize to the Pope.” MIGUEL ANGEL: “For being beaten as a disobedient servant?” RAFAEL (laughing): “What is an artist in this world if not a servant of the rich and powerful? Before we can create, we need a patron—whether a merchant, prince, or Pope. We must revere them, kneel, kiss their hands, and if not, we die.”

MIGUEL ANGEL: “If that’s what it is, then I’m not an artist.” RAFAEL: “You are an artist, whether you like it or not.”

Michelangelo refuses to believe that the chapel should be revealed before completion. He is determined to present his work in its full glory. Tessina, who is present, provides insight into Michelangelo’s struggles:

TESSINA: “Why do you think he wanted to show the work? Maybe because he felt ashamed?” MIGUEL ANGEL: “Of course not! On the contrary, I’m proud of it.” TESSINA: “So you insult him because he wants to show you the work? He has been watching over you, defending you from criticism. This art has become a labor of love for him.”

Michelangelo cannot understand Tessina’s perspective on love, as he tries to fit it into rigid categories of good and bad. He fails to see that love sometimes manifests in unexpected ways, like through authoritarian actions or tough love. After further dialogue with Raphael and Tessina, Michelangelo begins to understand that true devotion involves seeking permission to finish the chapel.

When Michelangelo returns to the Vatican, he finds Pope Julius II badly wounded from a battle. The Pope tells him that soon he will no longer hold power, as his enemies in Florence have melted down the statue Michelangelo created in his honor. Despite this, Julius II grants him permission to continue his work on the Sistine Chapel.

In a moment of realization, Michelangelo understands how the Pope had been defending his work all along. He kisses the Pope’s hand, offering a sincere gesture of recognition. Julius II, in a rare moment of vulnerability, says, “You see, my son, how we understand each other when you don’t shout.”

Michelangelo returns to his work. One night, the Pope admires Michelangelo’s depiction of the creation of man—Adam.

JULIUS II: “Is this how you see God, my son?” MIGUEL ANGEL: “Yes, Holy Father.” JULIUS II: “Neither angry nor vengeful, just like that. Strong, benevolent, loving. But He also knows anger.” MIGUEL ANGEL: “But creation is an act of love.” JULIUS II: “And I am very grateful for the gift.”

Julius II confesses that, if given another chance, he would like to be an artist. He recognizes that Michelangelo’s painting is more than a portrait of God—it is a demonstration of faith. Michelangelo, in turn, responds, “I didn’t think faith needed a demonstration.”

Julius II sees the flaw in his view, stating, “The ways of the Lord are strange. We are His instruments. What has the Lord taught you?” MIGUEL ANGEL: “That I’m not alone.” JULIUS II: “It has taught me that the world is not alone.”