The Agony and the Ecstasy is a 1965 American historical drama film directed by Carol Reed and starring Charlton Heston as Michelangelo and Rex Harrison as Pope Julius II. The film was partly based on Irving Stone's 1961 biographical novel of the same name, and deals with the conflicts of Michelangelo and Pope Julius II during the 1508-1512 painting of the Sistine Chapel ceiling. It also features a soundtrack by prolific composers Alex North and Jerry Goldsmith. The film was shot in Todd-AO and Cinemascope versions. The Todd-AO version was used for the DVD release because of its superior picture quality. Plot The film opens in documentary style, chronicling the work of Michelangelo Buonarroti. It then follows Michelangelo, a renowned sculptor of the Republic of Florence in the early 16th century, and shows him at work on large-scale sculptures near St. Peter's Basilica. When Pope Julius II commissions him to paint the Sistine Chapel, Michelangelo resists because he finds the ceiling's paneled layout of the Twelve Apostles uninspiring. Nonetheless, he is forced into taking the job. During the initial attempt, Michelangelo is discontented with the results, and destroys the frescoes. He flees to Carrara, and then into the mountains where he finds inspiration from nature. Michelangelo returns and is allowed to paint the entire vault in a variety of newly designed biblical scenes. The work proceeds nonstop, even with Mass in session, as months turn to years. Michelangelo's work is threatened when he collapses due to fatigue. He is nursed back to health by Contessina de' Medici, daughter of his old friend Lorenzo de' Medici. After recovering, Michelangelo returns to work after learning he is at risk of being replaced by Raphael. Meanwhile, the Papal States are threatened during the War of the League of Cambrai. Preparing for battle and having reached the limits of his patience, the Pope terminates Michelangelo's contract. Raphael, impressed with the work in progress, asks Michelangelo to show humility and finish the ceiling. Michelangelo travels to see the injured and weakened Pope, and pleads for him to restore the patronage. Though the Pope believes an invasion of Rome is inevitable, he raises the money needed to resume work on the ceiling. One night, Michelangelo finds the ailing Pope inspecting the portrait of God in The Creation of Adam, which the Pope declares "a proof of faith." He then collapses and becomes bedridden. Though everyone assumes