The True Worship of Michelangelo in the film The Agony and the Ecstasy

The film 'Agony and Ecstasy' (1965) is an epic depiction of Michelangelo and Pope Julius II based on the same novel history of Irvingstone published in 1961. Their job relationships are recorded as two powerful self-centered men. One is a leader in the Christian world, while the other changes the world through his art. Paradoxically, the Pope believes that Michelangelo can better capture the essence of God better and turn it into his believer.

Leonardo and Michelangelo are very different. Leonardo is very popular, sociable and satisfied with all the habits including homosexuality. Michelangelo is also homosexual, but he felt deeply the pain and ecstacy of his identity. He is also a hermit. He is wearing dark clothes, there are no close friends, so appearance, style, and personality are both polar. Leonardo decided to conceal Michelangelo's statue of David at several arcades, not in the middle of the square. Michelangelo is rude to Leonardo openly. As all of this caused some power, the rulers of Florence attacked each other to make these two battle plans.

Pain and ecstasy Pain and ecstasy depict Michelangelo's efforts to embody Renaissance humanism. In the process of the novel, Michelangelo has to overcome family intervention, religious doctrine, political conspiracy, papal protection, military movement and artistic know-how to achieve his artistic ambition . In spite of his father's opposition, Michelangelo at the age of 12 became an apprentice, first at the painter Gillandaio, then the sculptor Bertoldo

Many of the biographies of Michelangelo's biography (1475 - 1564) that appeared in Owen Stone's biography were inventors' inventions, but few people doubted the ceiling of the Sistine Chapel, an artist who was a Carol. The theme of Lead's movie "THE". It traces the life of Michelangelo Bonarroti until his death at the age of 13 to 89, but mainly includes his five years to paint the Sistine Chapel (1507-1512) Pope Julius II (1443-1513 ) Asked for this work. It is an immortal symbol of his efforts and it is hoped that it will be the root of the ongoing war of words between them. (Diane Cilento) is used to define the relationship between Charlton Heston and Pope Julius II, but the pain is the reaction of Pope Julius and Michelangelo. The result of immortal art work