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Goya's Ghosts

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1 star:		(3)

 

 

Milos Forman has a gift for combining fine art subject matter in period pieces that are not only entertaining but also educating. In GOYA'S GHOSTS he not only explores the multifaceted aspects of the great Spanish artist Francisco Goya as a painter of court portraits as well as canvases of dramatic collisions between the factions of people versus military cruelty of 18th and 19th century Spain, but he also dissects the infamous Spanish Inquisition, not only by defining characters who represented the Holy Office and the victims of the 'purging' but also by subtly remarking on the tenor of the times by focusing on Goya's 80 etchings titled 'Los Caprichos'. This is a richly realized film that captures the horror of the times while it offers insights into the changes that occurred in Spain in a rather comprehensive fashion.

1792 and while Francisco Goya (Stellan Skarsgård) is painting portraits of the royal family (Randy Quaid and Blanca Portillo) as well as portraits of his favorite model Inés (Natalie Portman) and of the Inquisition activist Brother Lorenzo (Javier Bardem). Corruption abounds in Spain and the fear of the Inquisition headed by Father Gregorio (Michael Lonsdale) penetrates all of society. When Inés is called before the Inquisition because she doesn't like the taste of pork offered at a public banquet, she is tortured for not confessing to be a Jewess and imprisoned. Despite the pleadings of Goya and the money offered by her family (Brother Lorenzo is asked to intervene on her behalf), Inés remains in prison for 15 years and when Brother Lorenzo visits her he impregnates her and the resulting girl child is sold upon her birth). France invades Spain (courtesy of Napoleon Bonaparte) and when the French Revolution begins to spread through Europe the chastised Brother Lorenzo travels to France where he assumes a new life away from the church. During the trauma of these years Goya loses his hearing and in response to the disintegration of society, creates the Caprichos - etchings that stress the brutality and madness to which the country has succumbed. Lorenzo returns to Spain, the prisoners of the Inquisition are freed, and Inés (now pitifully ugly) searches for her daughter, confronting Lorenzo with the paternity. How all of the pieces of the Caprichos come to life brings an end to the story fills the final moments of this fine period piece.

Javier Bardem is particularly strong in his role of the mutating Lorenzo and Stellan Skarsgård makes Goya an understandable genius. In addition to the named cast there are excellent cameo roles for such fine actors as Unax Ugalde, Wael Al Moubayed (Goya's interpreter), José Luis Gómez and Mabel Rivera among others. The cinematography by Javier Aguirresarobe captures the flavor of the period and the musical score by Varhan Bauer and José Nieto quotes some 20th century compositions (Shostakovich) and blends Spanish court and dance themes into a rich musical tapestry. This is a fine film despite the lack of critical acceptance and certainly deserves a large audience, especially those who appreciate historical drama. Grady Harp, February 08

Milos Forman and Saul Zaentz, who brought us AMADEUS in 1983 have teamed up again to take on another historical artist-type , Francisco de Goya, in a most unusual period drama that is beautifully executed but may leave you scratching your head and wanting more information (especially how to interpret the film!).All of information is there,but if you are not one to seek it you may not enjoy this masterpiece.

The title suggests that the purpose of the film is to present the images that haunted the Royal Painter into producing his macabre aqua-tinted etchings called "The Caprichos" in the year 1792.We are shown these etchings in full during the opening titles. They are disturbing scenes of the most extreme torture with decapitations and disemboweled figures with twisted faces writhing in agony.What Goya etches is of the most horrific things imaginable to the human mind! In fact, these "Caprichos" were subtitled "The sleep of reason produces monsters". IF YOU DON'T GET THIS, THEN THE POINT OF THE WHOLE FILM WILL BE LOST!!!

The film then proceeds to spill out the events and the players that will form the basis of these horrible lithographs. The opening scene shows us the heads of the Roman Catholic Church nervously pondering Goya's etchings. This is the time of The Spanish Inquisition.The Church rules (even the King and Queen!)Heretics are "put to the question".They are tortured, burned and put to death."We cannot have the world perceiving us thus" remarks one of the Church Fathers.

Forman then introduces us to the three main players in this piece.Inez (Natalie Portman) who has become the "muse" for Goya's works. NOTE: Goya painted EXACT likenesses as he saw them.Inez' image is striking.Secondly, Father Lorenzo (Javier Bardem in a welcomed English speaking role) who has asked the Church to step up the "questioning" practices of The Inquisition. Lastly, Goya (Stellan Skarsgard) who as Painter to the Royal Court, has observed and painted them both.Lorenzo's portrait is austere and forebodingly ruthless and dark. Inez' portrait is pure beauty and innocence.This then sets up the "ghosts" that Goya will begin to etch over the next year as The Inquisition is stepped up and both Inez and Lorenzo become victims of the whole terrible scene. Goya goes deaf and, by some accounts, mad in the same year 1792 that he prints "The Caprichos" etchings.

Fifteen years forward and we now find these same three characters in different places. Inez has been in the Inquisitor's prison all this time; Lorenzo is a wanted fugitive of The Church ;and Goya is completely deaf and finds himself embroiled in the mystery of his two famous subjects for his paintings.France has now conquered Spain and has become a puppet state of Napoleon.The Church is still trying to wield influence. These three, Inez,Lorenzo and Goya are again thrown together to complete what is left of their lives in an Age where "Reason" has really lead to uncontrollable madness. What happens is startling and heartbreaking to all parties.

The end film credits wisely show the remaining paintings and etchings that Goya produced in his lifetime ending with the ultimate ghost, his own self-portrait.

Goya's paintings, themselves, are the "stars" in this film. The actors are but the "material" or the "influence" that inspires Goya's mad artistry.The whole point of this film is to show the actual events that inspired an artist to paint and etch what he did. The Church of the time was concerned,and rightfully so. "Reason had gone to sleep.....and it produced MONSTERS."

I have viewed this film now three times with each time having a deeper a richer experience and appreciation for the incredible piece of art that it is.

In 1975 Milos Forman made One Flew Over the Cuckoo's Nest, winner of 5 Academy Awards including Best Picture and Best Director. In 1984 he brought us Amadeus, winner of 8 Academy Awards including Best Picture and Best Director. Now, 23 years later, he brings us Goya's Ghosts, a brand new epic masterpiece on par with his previous critically acclaimed Academy Award winners.

The only difference is, Goya's Ghosts not only didn't get a single Oscar nomination, but it was slammed and hated by most critics. I'll make this part of my review short and simply say that this film must be so brilliant that it went right over the critics heads. The script is complicated, and the meaning of the title has been misinterpreted by almost everyone i've talked to about it.

Now, for the film itself. Perfection. Absolute perfection. Do not believe any of the negative reviews from the critics. This film is a masterpiece in every way. Music, acting, cinematography, script, everything. It's a breathtaking period drama that grips you from the first frame to the last and leaves you barely able to wrap your mind around just how perfect and brilliant it was. This is not a film to miss. It has taken the spot of #3 in my top 10 films of all time, #2 and #1 being One Flew Over the Cuckoo's Nest and Amadeus. At the request of the first person who commented on my review, I've edited my review here to say that Milos Forman could testify to the fact that i'm not related to him or to anyone involved in the creation or publicity of any of his films.

I'm not going to go into any plot details about the film. I'll simply say once more that it is possibly the greatest artistic achievement ever executed in the world of cinema. Buy the DVD when it's released. You won't regret it. Thank you Milos Forman!

It seems that I had been waiting a long time to see Goya's Ghosts. I first heard about the film sometime in 2005. And I remember when they were filming it in Madrid. The subject matter was of great interest to me. It was being directed by Milos Forman and the screenplay was co-written by Forman and Jean Claude Carriere. And it starred Javier Bardem, Natalie Portman and Stellan Skarsgard. What could be better?

But the film had trouble finding a US distributor. In the meantime, it was released around Europe to dismal reviews. Earlier this year the film was picked up by Samuel Goldwyn Films and it was released here in July to the same type of reviews. But guess what? I saw the film when it was released and I thought that it was terrific.

The first part of the film takes place in 1792. The Inquisition is being reinstated. It is spearheaded by a fanatic monk named Lorenzo (Bardem). Lorenzo talks out of both sides of his mouth. He is having his portrait painted by the well known artist Francisco Goya (Skarsgard) but when he sees that the Church doesn't approve of Goya's work he makes the suggestion that Spain go back to its old, repressive ways.

A young woman named Ines (Portman), who is one of Goya's models, is accused of heresy because she doesn't want to eat pork. She is tortured into a false confession and left in the dungeons to rot. Goya asks for Lorenzo's help and Lorenzo visits her. Lorenzo and Ines pray together but he also rapes her. And Lorenzo is invited to the home of Ines' parents. He is put to the "question" by Ines' father Tomas (Jose Luis Gomez) and fails. He is eventually driven out of Spain.

We fast forward to fifteen years later. There is chaos on the streets of Madrid. The French Revolution has "liberated" Spain and the Inquisition is null and void. Ines is let out prison and the only one she has left is Goya (who is now deaf). She had a child while in prison and wants to find her. Lorenzo returns to Spain with his wife and children. He is now a proponent of the French Revolution and condemns the Church. And that is all of the plot I will tell you.

Goya's Ghosts is a fascinating film. It contains many themes that still resonate today. Torture, a foreign army occupying a country and hypocrisy (in the name of religion or a cause) to name a few. It is a film of ideas. I did not take my eyes off of the screen for a minute. I only wished that Goya's Ghosts were a mini series because there would be more time to explore all of these complex ideas.

All of the acting is top notch. Bardem is brilliant as a man who completely transforms himself. I read some bad reviews of his acting in the Spanish press. I honestly don't know what they are talking about. I was wondering if Portman would be able to pull off here triple role as the young and old Ines as well as her daughter Alicia. She does. She also got some bad reviews and, again, I don't understand it. Skarsgard is fine as Goya, a man of reason. Other actors who are good are Randy Quaid as the King, Jose Luis Gomez as Ines' father and Michael Lonsdale as Father Gregorio. The cinematography by Javier Aguirresarobe is spectacular as is the production design by Patricia von Brandenstein and the costumes by Yvonne Blake.

Milos Forman has created a wonderful and important film that many people will not see because of the reviews. It is hard to fathom all of this when so many awful films don't get bashed in this way. Roger Ebert wrote an interesting review of Goya's Ghosts. He liked the film but he also makes an interesting observation about critics. Here is the link:

http://www.ocregister.com/entertainment/goya-lorenzo-inquisition-1776187-film-portrait

I didn't have much faith in film critics in the first place. But after this I have even less.

And one last thing - this past week I read a piece about Penelope Cruz. In it she was quoted as saying that Bardem is the best actor in the world. I will drink to that!

Goya's Ghost is an excellent film that surfaces the great contributions of Francisco Jose de Goya y Lucientes. Born on March 30th, 1746, Goya was a famous Spanish painter and printmaker who served to record history through his art during the Spanish Inquisition.

During his life, Goya was given great commissions, such as decorating the bare stone walls of El Escorial and the Palacio Real del Pardo, where Spanish monarchs were to reside, therefore, Goya was given access to the royal court and painted many of the portraits of the time.

Goya was a favorite of King Carlos III and became a friend to Crown Prince Don Luis, living in his house while he was painting the portraits of the Queen. After an illness where he contracted a high fever, Goya is left deaf and became introspective and reserved. Goya becomes rather informed about the French Revolution because while recuperating he dedicates his idle time to reading the philosophical writings of the rights of man.

During the reign of Charles III and IV, Goya becomes the royal painter, finally promoted to First Court Painter and assigned a salary of 50,000 reales, which was a fortune at the time. Goya is not given to flattery and paints subjects as he sees them, and the Queen of Spain is rather upset when she sees her image interpreted by Goya because the result is that of a rather ugly female.

In this movie, we see Goya's relationship to Brother Lorenzo, played by Javier Bardem and to a model he uses, played by Natalie Portman. The movie surfaces how Judaism was persecuted. Anyone suspected of respecting or following any of the traditions of Jews ended in jail, put the test, the famous "Question" which through torture tested those accused on their resolve to tell the truth. But the cruelty of the torture was such that anyone put to the test would end up asking: "What is the truth you seek?" and they would confess to anything so they would be left alone.

Ines, Goya's model, is suspected of practicing Judaism simply because she refuses to eat pork during a night out with her brothers. Her father asks that Goya intercede with those in power to obtain the freedom of his daughter and because he is a rather wealthy merchant he donates a large fortune to the Church in exchange for his daughter. But the Church representatives are not moved and while they accept the donation, they do not return Ines and the father proves to Brother Lorenzo how any man / woman put to "The Question" would confess anything for the torture to stop.

Brother Lorenzo visits Ines in prison and is taken by the young beauty, and he takes advantage of her situation... much ensues... and we learned lots about the Spanish Inquisition and how Spain is influenced and transformed by the French Revolution and Napoleon's invasion.

We enjoyed the film, learned about a subject that we rarely find in films, the Spanish Inquisition, and were very impressed with Natalie Portman's ability to play multiple roles for she is Ines... young and old, and a daughter that is born while in prison, fathered by Brother Lorenzo. Enjoy!

On the advice of some reviewers, I got to see "Goya's Ghosts" at the art house this weekend and was overwhelmed at the scope,depth,length,breadth and height of this Milos Forman stroke of genius.This masterpiece is so multi-layered that,and yes I will go out on a limb here,most critics and "average" (here comes the hateful voters!) simply will miss the point of the whole film and will squirm in their seats.Anyone who enjoys well produced historically based drama done with artful expertise and flare will be astounded.Milos Forman and Saul Zaentz brought us "Amadeus" years ago and they have not lost a beat in "Goya's Ghosts".But, this is not a rollicking good time like "Amadeus", their multi Award-winning box office hit from 1983; this is a dark,brooding and somberly pensive look at art,the beholder and the nay-sayer, and the dangerous times of the Spanish Inquisition.Some people will not see this film because "they want to be entertained-whatever THAT is supposed to mean! This film is an exhaustive challenge that forces the audience to come face to face with the "whoredom" of artists and "priests" and the innocent who gets caught in the middle.Other reviewers have expounded the plot.I will merely say that this was the film making,acting,producing at it's finest hour.The critics may politely be "put to the question" themselves!

Don't be fooled by the low profile given to this film by the critics. Maybe they got stuck in expecting a linear plot about an artist. It isn't about Goya. He is the lens through which we get to see a full spectrum humanity. It is a deep observation of humanity at its ugliest and at its kindest through the eyes of an impartial observer whose kindness never gets entangled in the horrors he sees and draws. His ghosts are the player in the story.

The film is breathtaking. Torture, love, commitment, innocence and the greedy need for control shows us a world that is similar to ours. When asked to admit through torture to being the bastard son of a chimpanzee and an orangoutang one is startled with the thought that he would have been better off that way than born to humans. Only humans devote their lives to controlling others and to torturing anyone who thinks differently.

As the author of Raising Our Children, Raising Ourselves I can't avoid seeing this film with the clear awareness that such desire to control is created by the ways we parent and so does kindness. The film brings to focus love, deep family connections, torture and innocence in a beautiful and complex story. It is optimistic in spite of the horrors done. Goya stays an impartial and kind observer who offers us a mirror - not a judgment. The film leaves us gasping with horror, yet in love with being human. I don't think any caring and thinking person should miss this film. Thank you Milos for another masterpiece of compassion and art.

It's 1792. Spain as well as the rest of Europe is at the eve of one of the greatest breakthroughs of the Humanity. Francisco de Goya is the real painter of the King and certainly the best of Spain at that moment. His muse is an alluring teenager Ines, daughter of a wealthy family.

But the wings of the moral degradation dressed with Holy clothes finds a reason to imprison her once the Brother Lorenzo a sort of little Savonarola induces the Holy Office to restore the moral authority and bring back the Church the ancient fears and missed respect in those times of sacrilege and heresy.

Ines is captured in the tavern and supposedly accused of Jewish rituals because her linage involves her with a Jewish converted to Catholicism, 168 years before.

This fact will become the dramatic premise for this tragic story when the Brother Lorenzo will use and exert all his influence to abuse her. Soon he is unmasked and expatriated to France where the new airs of the French Revolution will transform this chameleon and faker in the most conspicuous delegate of the new moral order. He has left Ines pregnant, but he returns from France fifteen years after ignoring this fact.

Goya will make all the unimaginable efforts to make mother and daughter could meet themselves, but the converted Lorenzo with his twisted morality moves his pieces to stay clean before his new wife.

From the times of Ken Russell's The devils, we had not had the chance to experience this abominable atmosphere of hypocrisy and hidden vices in this horrid times of prohibition and censure. Milos Forman will convey us through these labyrinths of the horror where the political circumstances will interchange roles for the beast, profane, opportunist and sacrilege human being.

Javier Bardem is outstanding as the hated Brother, Stellar Skarsgard as Goya is remarkable too and Nathalie Portman makes a resplendent and effective role as the suffered and fallen in disgrace Ines. Michael Lonsdale (the untiring investigator who will pursuit to The Jackal) as the Supreme authority in the town, performs a worthy role.

With this film, Forman dives us for third time in the hellish atmosphere of the madhouse (One flew, Amadeus are the other two) expressing perhaps with his admirable genius that despite the elapsed years, the human condition is certainly irredeemable.

Formidable and totally recommended.

Centered on the horrid Spanish Inquisition, this story explores the sins of those in power, committed in the name of God. An arrogant priest, Lorenzo played by the talented Javier Bardem, believes torture is the key to bringing society closer to morality. Lorenzo's artist friend, Goya, begs for the priest's help when one of his young models, Inez, is falsely accused and imprisoned for heresy. Lorenzo is not only unable to free the young girl, but impregnates her while she's confined in her cell. Inez is tortured until she confesses to a sin she is not guilty of. When Lorenzo gets put to the 'torture test' himself by the young girl's father, and fails, he must leave town. When Lorenzo returns he causes even more trouble for Inez. This is an intense drama that gives us a small glimpse into a tumultous time in history. Superb acting!

Chrissy K. McVay - Author

This film was recommended to me because of my interest and novels on the Second Inquisition as applied to "conversos", the Italian Wars and, especially, the Conquest of Mexico. At that level the film didn't disappoint. A young woman from a wealthy merchant family is arrested for the high crime of refusing suckling pig at a party. She is put to "The Question", which is made all the more emphatic by her being stretched on the rack. She doesn't know what her "crime" is, so she is unable to answer the question. A few more turns of the screw and with a little help from the inquisitor, she finds that she must confess to being a secret Jew i.e. a New Christian, a converso, a secret Judaizer. She's a devout Catholic but, a few more turns, and she confesses to a crime she knows nothing about.

The girl's father knows that she has been called in for questioning by the Holy Office but doesn't know for what reason and doesn't know why she hasn't returned. He invites one Father Lorenzo, a familiar of the Inquisition, to his home and learns the truth. Lorenzo says he can't help because the girl has confessed and a confession, even under torture, is necessarily the truth. The father and his servants seize Lorenzo and put him to "The Question" by stretching him from the ceiling. Lorenzo's faith fails him and he confesses to being the bastard son of apes and admits, under torture, that he is attempting to subvert the Holy Office--the Inquisition.

To me this was the high point of the film. Afterwards things get muddled. There's Lorenzo's fall from Grace and an invasion by the French. There are atrocities and Lorenzo, who has fled to France and become a staunch Napoleon man, returns to lord it over his previous oppressors. The French, in their turn, are defeated by the English and Spanish guerillas. Lorenzo is captured and turned over to the newly reconstituted Inquisition. In a contorted sense, Lorenzo is redeemed by refusal to recant his previous errors to save his own life. Wearing the peaked hat and San Benito of a condemned heretic, he is garroted during an Auto de Fe in which hundreds cheer his death.

Yes, Goya is featured during the film but only as a backdrop against which the Lorenzo story is played. I enjoyed the film and found it informative.

Ron Braithwaite