Director:
Miloš FormanCámara:
Javier AguirresarobeMúsica:
Varhan Orchestrovič BauerReparto:
Javier Bardem, Natalie Portman, Stellan Skarsgård, Randy Quaid, José Luis Gómez, Michael Lonsdale, Blanca Portillo, Mabel Rivera, Unax Ugalde (más)Sinopsis(1)
En 1792, durante el reinado de Carlos IV, España es todavía un vasto imperio y la Inquisición, en sus últimos coletazos antes de extinguirse, trata de reprimir las ideas que llegan de la Europa ilustrada, sobre todo de la Francia revolucionaria. En ese mundo de miras estrechas, Goya se ha convertido en pintor de la corte; entre los clientes que acuden para que les retrate se encuentran Lorenzo Casamares, influyente dominico del Santo Oficio, e Inés Bilbatua, joven hija de un comerciante vasco amigo de Goya, Desde el instante en que Lorenzo ve un esbozo de Inés en el taller del pintor, los destinos de ambos, sujetos a los avatares de la Historia, se entrecruzaran en una trágica historia de persecuciones inquisitoriales, de amor y de cárcel, que se prolongara hasta la invasión de las tropas napoleónicas, el reinado de Jose Bonaparte y el regreso de los Borbones. (Warner Bros. España)
(más)Reseñas (10)
Tři hvězdičky za výkon Javiera Bardema. Moje hodnocení je notně opřeno o velké zklámání, které se ve mně rozhostilo poté, co jsem zjistil, že nepůjde o filmové zpracování života jednoho z nejzvláštnějších světových malířů. Formanův příběh mě neoslovil, v jeho filmografii jsou určitě lepší kousky.
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An ambitious subject rendered in the form of a disjointed and confused television farce. The only positive aspect here is the high-quality actors.
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I don't question the message and the strong idea Forman was trying to get across. I will make an odd analogy: while a film such an Amadeus is like a roasted turkey with delicate stuffing, crispy fried potatoes and a hearty vegetable garnish, accompanied a Sauvignon Blanc vintage 2004, Goya's Ghosts evokes a toast with garlic and a glass of sparkling mineral water. Nothing wrong with that, it will fill you up, but with a different end result for your taste buds :)
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Against the backdrop of the shadowy side of modern Spanish history, Forman once again delivers his spectacular play. It is stunning with its sets, costumes, and, last but not least, an amazing atmosphere that breathes life into Goya's cruelly pessimistic paintings, worth experiencing for 120 minutes. The acting trio works perfectly with the director in their brilliantly acted parts. Stellan Skarsgård IS a Goya, Natalie is great like never before (and it's not just about getting naked here, as subliminal marketing everywhere proclaims), and Javier Bardem's mesmerizing demon literally destroys the screen with his performance. Forman is back in full force after seven years, once again mixing his genres properly, resulting in a stylish spectacle that may not grab you immediately, but resonates all the more when the credits roll.
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The master made an error. A mushy and calculated screenplay, which tries to play at intellectual construction, completely soulless characters (only faint reflections of Forman’s former brilliance in a small character drawing), and a protruding to almost stale directing concept (especially the crowd scenes evoke cheap television productions). Goya is something like product placement – his name stands out nicely, but we can only dream that this is any sort of speculative psychology of genius, albeit simple but lively (Amadeus!). Milking emotions with Natalie Portman's grandma mask and Javier Bardem's satanic frown is not worthy of one of the greatest directors of recent decades. It truly isn’t. This is Forman’s first great mistake.
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As a TV production - okay, but as a full-blooded work by one of the best directors in the world? The sad, mediocre result stems from the miserable visuals, actors with almost nothing to act and primarily the dumb screenplay. This is made up of two absolutely disconnected parts, neither of which holds any water. The topic itself isn’t bad and the painter Goya, the Spanish Inquisition and the Napoleonic era certainly all have potential, but are absolutely unexploited. In the end, the movie contained something of all of the above, but together the result is nothing. Maybe Forman found himself forced to do a lot of cutting, but in that case the better half of the movie ended up on the cutting room floor. Let’s hope that they’ll release a director’s cut sometime. Overall it lacks energy (apart from two or three scenes) and staying power. The character of Goya is absolutely superfluous for the movie and so the only over-average element here is the soundtrack by Varhan Bauer. So the most powerful part of Goya’s Ghosts are the ending credits, when the camera gives us close-ups of details of Goya’s canvases and the orchestra starts to play full on.
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Forget about the nobility of Valmont or the grandeur of Amadeus; this time the viewer can't stop gaping at how harsh things actually looked back then. Even to me, Goya's Ghosts as a whole looks so depressing that I dare to say that I never want to see it again, because I probably wouldn't be able to endure watching Natalie Portman on the torture rack for a second time. And I say this despite the fact that for me, this film is undeniably high-quality, with excellent actors, a great script, and impressive music, and those two hours flew by without me even blinking. The only criticism, in the end, still falls to Miloš Forman and concerns the final scene. This "song of death" is everything imaginable, except for impressive and chilling – which is a terrible shame compared to the action that preceded it.
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Goya's Ghosts was preceded by the reputation of a somewhat unfinished film, which, fortunately, in my opinion, was not the case. Only Forman's style, which focuses on human individuality, changed this time when Forman, for a change, directed not the role of a personality in human history, but the influence of history on the fate of an individual. Each character had their own clearly defined life and career when history and a stroke of luck intervened, and the conservative ecclesiastical dignitary Lorenzo became an enthusiastic supporter of the French Revolution and a prosecutor of the French Republic. Forman was probably inspired by the fate of Napoleon's prominent collaborator, the head of the secret service, Fouché, who rose from the position of a priest to become one of the most powerful government officials, despite his position as a Jacobin radical, only to betray his benefactor at the end of his career. A young noblewoman, on the other hand, awaits an arranged marriage and a carefree life in luxury, but one chance encounter with inquisition agents and a small misunderstanding leads to a brutal twist and suffering. The titular character represents a mere connecting element and does not play a significant role in the film. This confusion may be the cause of why some film fans have a little trouble accepting Goya's Ghosts. Otherwise, it is a perfectly acted and decently directed film that ranks among Forman's better films. Overall impression: 80%.
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In his typical masterful way, the best Czech director portrays the hard reality of the French Revolution and the hardships of ordinary people and, with the support of excellent actors, especially in the first act, he manages to draw the viewer into a promising story without any problems. But gradually, Forman runs out of breath, the plot becomes terribly weak and unfinished for such an ambitious film, and the end comes out of the blue and without much emotion. Yes, I learned about the uncompromising methods of the Inquisition of the time, but that doesn't make Goya's Ghosts an above-average drama.
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This film didn't grip me as much as I thought it would almost ten years ago, but over the years, I see that the criticism, not only of the church but primarily of humanity, is simply effective and shows the ugliness hidden within us, which surfaces when given the opportunity and when we allow evil to prevail.
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