Movie |
Italian Renaissance | Painter
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Best Supporting Actor For | 1966 | Harry
Best Supporting Actor | 1966 | Harry
Top Ten Films | 1966
Best Foreign Production Migliore Produzione Straniera | 1966
Best Cinematography Color | 1966
Best Art DirectionSet Decoration Color | 1966
Best Costume Design Color | 1966
Best Sound | 1966
Best Music Score Substantially Original | 1966 | Alex
Dramatic Performance Male | 1966 | Rex
Best New Recording of a Previously Existing Score | 1998 | Alex
Budget 10,000,000 USD
Box Office Collection 4,000,000 USD
In his 1995 autobiography "In the Arena" Charlton Heston denied that Michelangelo Buonarotti was a homosexual. He also refused permission to use scenes from "The Agony and the Ecstasy" in the 1995 documentary "The Celluloid Closet" because he told the filmmakers he had done a lot of research for his role and could assure them that Michelangelo was not gay.
The mountain quarry to which Michelangelo (Charlton Heston) flees after destroying his first ceiling-panel paintings was the actual Carrara, Massa-Carrara in Tuscany, source of marble for the real Michelangelo Buonarotti's sculptures and close by his hometown.
Sir Rex Harrison did not get along with Charlton Heston at all during filming, though not necessarily a bad thing for two actors playing antagonists. While filming Crossed Swords (1977), he avoided Heston completely.
Charlton Heston inserted a small length of narrow clay piping in his nose to make it more resemble Michelangelo Buonarotti's broken one (Heston's nose actually had been broken years before, but he thought it insufficiently crooked for the role), but Sir Rex Harrison steadfastly refused to grow a beard, even though the real-life Julius II had one during a short period of his papacy.
In his autobiography, Sir Rex Harrison admitted wearing lifts in this movie so he would look more in line with Charlton Heston.
"[repeated exchange] Pope Julius II: When will you make an end? Michelangelo: When I am finished!"
"Raphael: For what is an artist in this world but a servant, a lackey for the rich and powerful? Before we even begin to work, to feed this craving of ours, we must find a patron, a rich man of affairs, or a merchant, or a prince or... a Pope. We must bow, fawn, kiss hands to be able to do the things we must do or die. [chuckles] Raphael: We are harlots always peddling beauty at the doorsteps of the mighty. Michelangelo: If it comes to that, I won't be an artist. Raphael: [scoffs] You'll always be an artist. You have no choice."
