![]() Michelangelo returns and is allowed to paint the entire vault in a variety of newly designed biblical scenes. He flees to Carrara, and then into the mountains where he finds inspiration from nature. During the initial attempt, Michelangelo is discontented with the results, and destroys the frescoes. Nonetheless, he is forced into taking the job. 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. ![]() 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. The film opens in documentary style, chronicling the work of Michelangelo Buonarroti. The Todd-AO version was used for the DVD release because of its superior picture quality. ![]() The film was shot in Todd-AO and Cinemascope versions. It also features a soundtrack by prolific composers Alex North and Jerry Goldsmith. 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. A vague sound was associated with this relief, a wetness reminded me of bodily existence and I realized I was crying.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. A thought arose of my dying sister-in-law, and relief spread throughout at realizing the fallacy of death. I realized that where and who I am is self-evidently beyond life and death. I became aware of a sense of arriving, of finally having found what felt like I had been looking for – for eons. There seemed to be an oscillation between pure undifferentiated Being and Observing Ego, because I had awareness of coming into Form, feeling profound ecstasy, joy, gratitude and love, and then dissolving back into That which from these feelings flowed. The relief and the sense that finally the ancient, primordial Search was over was utterly indescribable. With both the joy and the difficulty of a birth, separate identity was relinquished, and all that remained was boundlessness. At that edge between Form and Formlessness, I felt the sense of being at a threshold which I had never before crossed. Even the sense of joy and amazement which this engendered dissolved as identity merged into formless Being. All body awareness dissolved into awareness of soft, expansive currents of bliss. ![]() A deeper letting go seemed to occur by allowing the body to rest without muscular effort. “(Male) I was somehow able to guide my body to a laying position, though I had very little body awareness. If it is identified with a unifying, enduring, and eternal love, it will seek the deepening of its mystery in the divine, Who puts all loves into our hearts.” If love is identified with the early ecstasy alone, it will seek its prolongation in another person's presence. In the second ecstasy he tries to receive from God all that both of them can give. In it, the lover seeks to get from the beloved all that he will give. The first ecstasy of love is a thrill, but a somewhat of a selfish thrill. Theirs is the true ecstasy which belongs less to youth than to old age. The deep, ecstatic love of some Christian fathers and mothers is a beautiful thing to see, but they have won it after passing through their Calvaries. That may come to us, but only after many purging trials, fidelities under stress, perseverance through discouragement and steady pursuit of our divine destiny past all the allurements of this earth. The earliest ecstasy is not the true lasting love we seek to find and hold. “First fervor is false fervor in marriage as in religion.
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