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I don't view that film as a 'serious' Michelangelo history, but as a sort of tragi-comic play about the relationship between artists and patrons. Who knows what Stone made of that? As such it's okay, and the two principles' charisma served that.
But Anthony Quinn should've been Michelangelo. He was a good artist (so was Chuck in a lesser way) who knew sculpture and paint, and he looked right.
I think the prologue documentary was to a large extent conceived as a separate entity.
Goldsmith's CD rerecording of North's excellent score has two faults: it's so slow it's as long as the old album despite leaving out the source cues (!!!), and the echo is vast.
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Well, it's not Ben Hur or One Flew Over the Cuckoo's Nest, but a good film. I don't really gel musically with anything but the Jerry portion of the score.
I'm not the biggest North fan anyway outside of Cleopatra, Journey Into Fear, and a couple of others.
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I picked up a copy of the DVD a few years back, found in a charity shop for £1.50. Now and again I give it a spin for just the prologue, followed by North's main title music, and then shut down.
Of North's epic-style scores, this is the least interesting for me - Cleopatra, Spartacus and even The Shoes of the Fisherman are much more distinguished and fascinating.
On the other hand, the Goldsmith music for the Prologue is (as mentioned in an above post) one of JG's greatest compositions. Extraordinary stuff.
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When I first saw this film I was involved in a choir and we used to sing a lot of gregorian. I remember being immediately taken with North's music and not even noticing the prologue which screened before the movie. I consider this to be North's most captivating score and emotionally relates well what is happening on screen. One of the things which still sticks with me is North's ingenious use of a few bars of the Dies Irae when being gazed upon by the Pope to suggest Michelangelo's feeling at not being allowed to continue his painting. The vision in the clouds, the fall from the ceiling. Everything North composed here is first class and less jazz orientated than the other epics. It remains my favorite North.
Hey there's a fan, cool! I just didn't think of that score the way I do about Cleopatra, or even the 2001 rejected score. To me the latter two are North's elite compositions.
But that's just me. I'll probably watch the movie again (your opinion might rub off on me the more I watch it lol!).
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